From reavolution at gmail.com  Mon Apr  1 06:14:46 2024
From: reavolution at gmail.com (Rea Amit)
Date: Mon, 1 Apr 2024 05:14:46 -0500
Subject: [KineJapan] Oppenheimer in Japan
Message-ID: <CAA7VZxjVHkcERMuTruzhPdgLy=kT9QdcXVaQznKD3pt+LegtQA@mail.gmail.com>

Hello everyone,


Here is a NYT piece from today about Nolan?s Oscar-winning film in Japan:


https://www.nytimes.com/2024/04/01/world/asia/oppenheimer-opens-japan.html


While there is a lot to to say about the reception of the film in Japan, I
am particularly intrigued by this:


"Mindful of domestic sensitivities, some theaters in Japan are carrying
trigger warnings, with signs cautioning audiences about scenes 'that may
remind viewers of the damage caused by the atomic bombings.'?


I asked people I know in Japan who have seen the film, but they were not
warned. Does anyone know what these ?trigger warnings? might be?



Have these kinds of signs been used in other screenings in the past? Which
theaters use them?


I would appreciate any information about this.


Thanks,

Rea
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From macyroger at yahoo.co.uk  Mon Apr  1 08:37:49 2024
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Mon, 1 Apr 2024 12:37:49 +0000 (UTC)
Subject: [KineJapan] Oppenheimer in Japan
In-Reply-To: <CAA7VZxjVHkcERMuTruzhPdgLy=kT9QdcXVaQznKD3pt+LegtQA@mail.gmail.com>
References: <CAA7VZxjVHkcERMuTruzhPdgLy=kT9QdcXVaQznKD3pt+LegtQA@mail.gmail.com>
Message-ID: <479216854.5066567.1711975069344@mail.yahoo.com>

 
Thanks, Rea, for the link.

Actually, I?m surprised Oppenheimer is doing so well at theJapanese box office.

It makes me recall stumbling, at the Kawakita Institute, upon British-authoredpromotion material in the immediate post-war for A Matter of Life and Death.I think both films have considerable, if very different merits. But a film thatsends the bombers to heaven without mentioning the bombed ? I can?t see itdoing well in Tokyo in 1948 despitethe glossy (for the time) material.

Yaguchi-san?s particular way of characterising Oppenheimer asone-sided would do better for the British film. Oppenheimer is, ofcourse, one sided but more outward in declaring that and portraying, if notanalysing, evolving war-time and post-war attitudes. Whether Truman actuallysaid to Oppenheimer?s face that ?You didn?t drop the bomb, I did.? doesn?tworry me, it conveyed a truth. And, of course, the ?Manhattan?team would eagerly embrace a narrative that they had saved millions of lives. ?Besides no mention of the Red Army and itspreparations, what is not portrayed at all, is Truman?s motivation. But thefilm isn?t about Truman and it at least doesn?t spoil the ground for that to bequestioned further.

So, in my view, any trigger warnings should have been on the line ofsaying that the film conveys attitudes towards an enemy in wartime and the waythey started to evolve.

Roger


    On Monday, 1 April 2024 at 11:15:30 BST, Rea Amit via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 
Hello everyone, 





Here is a NYT piece from today about Nolan?s Oscar-winning film in Japan:




https://www.nytimes.com/2024/04/01/world/asia/oppenheimer-opens-japan.html




While there is a lot to to say about the reception of the film in Japan, I am particularly intrigued by this: 







"Mindful of domestic sensitivities, some theaters in Japanare carrying trigger warnings, with signs cautioning audiences about scenes 'that may remind viewers of the damage caused by the atomic bombings.'?






I asked people I know in Japan who have seen the film, butthey were not warned. Does anyone know what these ?trigger warnings? might be? 

?

Have these kinds of signs been used in other screenings in the past? Whichtheaters use them? 





I would appreciate any information about this.




Thanks,

Rea



















_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From macyroger at yahoo.co.uk  Mon Apr  1 12:52:02 2024
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Mon, 1 Apr 2024 16:52:02 +0000 (UTC)
Subject: [KineJapan] Fw: MJHW (Online) on Japan's First Talking Film -
 Thursday, April 11th
In-Reply-To: <8e2b8c05-5344-47df-8706-d2319c69619an@googlegroups.com>
References: <8e2b8c05-5344-47df-8706-d2319c69619an@googlegroups.com>
Message-ID: <1174048096.5186383.1711990322687@mail.yahoo.com>

 Dear KineJapaners,
MCHJW's next seminar is an online presentation on the compilation Nippon, 1932.
Roger

   ----- Forwarded message ----- From: Joelle Nazzicone <joelle.nazzicone at gmail.com>To: Modern Japan History Workshop <modern-japanese-history-workshop at googlegroups.com>Sent: Friday, 29 March 2024 at 06:51:08 GMTSubject: MJHW (Online) on Japan's First Talking Film - Thursday, April 11th
 
Please join us for the next meeting of the Modern Japan History Workshop on Thursday, April 11th at 19:00 JST. ?Our presenter this month will be Wayne Arnold (University of Kitakyushu), who will present his work on Japan's first talking film (details below).

This month's session will be held online through Zoom, and can be accessed using the following sign-in information:

Meeting link: https://rikkyo-ac-jp.zoom.us/j/86023930516?pwd=Q2dIOXlRbkVNd2dVOGttRjJoNElSdz09

Meeting ID: 860 2393 0516
Passcode: 981185

The workshop is open to all, and no prior registration is required.

Please direct any questions to Joelle Nazzicone at joelle.nazzicone at gmail.com.? We hope to see you there!

_______________________

Nippon (1932): The Journey of Japan?s First Talking Film

Wayne Arnold (University of Kitakyushu)

In this talk, I will provide a timeline and details chronicling the various screenings of the first Japanese talking film, Nippon (1932), produced in Berlin in late 1931. Previous research on this film details several of the critical events that led to its creation; however, until now, extensive examination has yet to detail the journey of the film across Europe after it was shown in Berlin in May 1932. By examining how Nippon was produced and distributed, we can better understand the complex film industry and distribution mechanisms at work during the peak period of the Great Depression. Between 1932 and 1934, Nippon was shown in specific European cities, with the most extensive screening in France. Since much of the research on Nippon has focussed on its release in Berlin, numerous fascinating elements concerning the December film release in Paris have been overlooked. Along with a performance by an acclaimed Japanese dancer, the Paris premiere was attended by the Japanese ambassador to France and several high-profile figures. The gala and subsequent film screening also received numerous reviews, highlighting an evident preference of the French for Japonisme.


-- 
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From dmiyao at ucsd.edu  Mon Apr  1 13:04:43 2024
From: dmiyao at ucsd.edu (Miyao, Daisuke)
Date: Mon, 1 Apr 2024 17:04:43 +0000
Subject: [KineJapan] Oppenheimer in Japan
In-Reply-To: <479216854.5066567.1711975069344@mail.yahoo.com>
References: <CAA7VZxjVHkcERMuTruzhPdgLy=kT9QdcXVaQznKD3pt+LegtQA@mail.gmail.com>
 <479216854.5066567.1711975069344@mail.yahoo.com>
Message-ID: <BY5PR04MB70593050584DD2A17D4F638EB63F2@BY5PR04MB7059.namprd04.prod.outlook.com>

Dear Rea, Roger, and all,

Thank you. Following the Oscar, I was interviewed by ABC of Australia regarding this issue ? although most of my comments were not included in the broadcast version unfortunately, this video includes images Hiroshima after the bombing shot by Harry Mimura Akira, which I informed them about.  FYI.

Best,
Daisuke

Daisuke Miyao
Professor and Hajime Mori Chair in Japanese Language and Literature
Director of Film Studies
University of California, San Diego

https://www.youtube.com/watch?v=qBtXF7m_aAU
[https://www.bing.com/th?id=OVP.8Lq222Kz2bDws2l3IhVNiwHgFo&pid=Api]<https://www.youtube.com/watch?v=qBtXF7m_aAU>
Is Japan ready for Oppenheimer?<https://www.youtube.com/watch?v=qBtXF7m_aAU>
Christopher Nolan's atomic bomb biopic Oppenheimer dominated the silver screen in 2023, earning more than a billion dollars at the box office and 7 Golden Globes. But the film won't open in Japan until March 29, amid controversy over its films marketing and storytelling, as Lachlan Bennett explains. ABC News provides around the clock coverage ...
www.youtube.com

________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Roger Macy via KineJapan <kinejapan at mailman.yale.edu>
Sent: Monday, April 1, 2024 5:37 AM
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Cc: Roger Macy <macyroger at yahoo.co.uk>
Subject: Re: [KineJapan] Oppenheimer in Japan


Thanks, Rea, for the link.

Actually, I?m surprised Oppenheimer is doing so well at the Japanese box office.

It makes me recall stumbling, at the Kawakita Institute, upon British-authored promotion material in the immediate post-war for A Matter of Life and Death. I think both films have considerable, if very different merits. But a film that sends the bombers to heaven without mentioning the bombed ? I can?t see it doing well in Tokyo in 1948 despite the glossy (for the time) material.

Yaguchi-san?s particular way of characterising Oppenheimer as one-sided would do better for the British film. Oppenheimer is, of course, one sided but more outward in declaring that and portraying, if not analysing, evolving war-time and post-war attitudes. Whether Truman actually said to Oppenheimer?s face that ?You didn?t drop the bomb, I did.? doesn?t worry me, it conveyed a truth. And, of course, the ?Manhattan? team would eagerly embrace a narrative that they had saved millions of lives.  Besides no mention of the Red Army and its preparations, what is not portrayed at all, is Truman?s motivation. But the film isn?t about Truman and it at least doesn?t spoil the ground for that to be questioned further.

So, in my view, any trigger warnings should have been on the line of saying that the film conveys attitudes towards an enemy in wartime and the way they started to evolve.

Roger


On Monday, 1 April 2024 at 11:15:30 BST, Rea Amit via KineJapan <kinejapan at mailman.yale.edu> wrote:



Hello everyone,


Here is a NYT piece from today about Nolan?s Oscar-winning film in Japan:


https://www.nytimes.com/2024/04/01/world/asia/oppenheimer-opens-japan.html<https://urldefense.com/v3/__https://www.nytimes.com/2024/04/01/world/asia/oppenheimer-opens-japan.html__;!!Mih3wA!BYumeJMpntiDJesPt8M6ayHxs2_oVQa65pBs2Wb2NyboyYR3We5AqbmlK6HFlz7duon1RMQ8vJPKBh7qkJSFNCiv-g$>


While there is a lot to to say about the reception of the film in Japan, I am particularly intrigued by this:


"Mindful of domestic sensitivities, some theaters in Japan are carrying trigger warnings, with signs cautioning audiences about scenes 'that may remind viewers of the damage caused by the atomic bombings.'?


I asked people I know in Japan who have seen the film, but they were not warned. Does anyone know what these ?trigger warnings? might be?



Have these kinds of signs been used in other screenings in the past? Which theaters use them?


I would appreciate any information about this.


Thanks,

Rea







_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu<mailto:KineJapan at mailman.yale.edu>
https://mailman.yale.edu/mailman/listinfo/kinejapan<https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!Mih3wA!BYumeJMpntiDJesPt8M6ayHxs2_oVQa65pBs2Wb2NyboyYR3We5AqbmlK6HFlz7duon1RMQ8vJPKBh7qkJSqvszdwQ$>
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From pslarson2 at gmail.com  Mon Apr  1 14:26:18 2024
From: pslarson2 at gmail.com (Peter Larson)
Date: Mon, 1 Apr 2024 14:26:18 -0400
Subject: [KineJapan] Oppenheimer in Japan
In-Reply-To: <CAA7VZxjVHkcERMuTruzhPdgLy=kT9QdcXVaQznKD3pt+LegtQA@mail.gmail.com>
References: <CAA7VZxjVHkcERMuTruzhPdgLy=kT9QdcXVaQznKD3pt+LegtQA@mail.gmail.com>
Message-ID: <CAMsAtOb4tNYdtoKYYKKfh2-JMe+0quhQf5AJdhSQABi+pT7wUw@mail.gmail.com>

This is just so strange to me. School trips go to Hiroshima or Nagasaki and
there's no obvious indication that kids or adults are particularly
traumatized by the experience in any way.

Oppenheimer wouldn't seem to me to be very traumatic for anyone, anywhere,
as it doesn't actually show any (to my recollection) of the damage, and
even if it did, I would highly doubt that someone born in the 1960s or 70s
would feel any more trauma than seeing any other type of film.

One wonders if this is simply hand wringing on the part of well meaning (or
ignorant) Westerners, or possibly some clever marketing tactic.

I simply have never met a single person who seemed particularly traumatized
about the bombings, even in Nagasaki where I was faculty for a while.

Well, expect that one drunk guy in Osaka who started screaming about
Hiroshima in a bar in 1996 while throwing money at me, but that's a
different story.

On Mon, Apr 1, 2024 at 6:15?AM Rea Amit via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hello everyone,
>
>
> Here is a NYT piece from today about Nolan?s Oscar-winning film in Japan:
>
>
> https://www.nytimes.com/2024/04/01/world/asia/oppenheimer-opens-japan.html
>
>
> While there is a lot to to say about the reception of the film in Japan, I
> am particularly intrigued by this:
>
>
> "Mindful of domestic sensitivities, some theaters in Japan are carrying
> trigger warnings, with signs cautioning audiences about scenes 'that may
> remind viewers of the damage caused by the atomic bombings.'?
>
>
> I asked people I know in Japan who have seen the film, but they were not
> warned. Does anyone know what these ?trigger warnings? might be?
>
>
>
> Have these kinds of signs been used in other screenings in the past? Which
> theaters use them?
>
>
> I would appreciate any information about this.
>
>
> Thanks,
>
> Rea
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From aaron.gerow at yale.edu  Mon Apr  1 21:06:12 2024
From: aaron.gerow at yale.edu (Aaron Gerow)
Date: Mon, 1 Apr 2024 21:06:12 -0400
Subject: [KineJapan] TVJapan and Jme
Message-ID: <7A747ABD-7520-4977-B856-C33A218F072B@yale.edu>

We watch Japanese television from the USA in various ways. One of the primary means has been TVJapan, a paid-subscription satellite/cable channel offered in North America by a subsidiary of NHK. It thus mostly shows NHK shows, plus a few select minpo programs. A few months ago, TVJapan announced it would stop broadcasting on March 31. 

In its place, they are offering a streaming service called Jme (where did they come up with that?). We?ve begun a trial subscription of Jme but are pretty disappointed. It basically is a mix of a streaming service and live internet TV, but fails at both. 

For streaming, they offer some of the NHK shows TVJapan offered, plus some movies, but are even weaker than before with variety shows (for instance, while TV Japan showed Shoten every week, albeit 2 months later than in Japan, the new service only has 2 episodes available, both from several years ago). In addition, for broadcast they offer three channels: NHK Premium, NHK Select, and NHK World. The first is basically NHK broadcast in real time (so shows shown in Japan in the morning are visible here in the evening), the second a selection of NHK shows (some adjusted to fit US time), and the last NHK?s English service. 

There are multiple problems. First, for some reason, they don?t offer for streaming some of NHK?s major shows. While the Taiga Drama is available, the Asadora is not. I haven?t the slightest idea what bureaucrat thought that was necessary. So to watch the Asadora, we have to watch it when it is broadcast live on either Premier or Select. There is no way to record them and watch later. In addition, the movies are basically ones I would not pay to see, but only possibly watch on the plane. It also appears the app created for smart TVs sucks. So basically Jme is mediocre as a streaming service, and as a broadcast service, has returned to the era before the VCR. And they charge $25 a month for this. We?re going to write a letter of complaint.

Aaron Gerow
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From nornes at umich.edu  Mon Apr  1 22:17:08 2024
From: nornes at umich.edu (Markus Nornes)
Date: Tue, 2 Apr 2024 11:17:08 +0900
Subject: [KineJapan] TVJapan and Jme
In-Reply-To: <7A747ABD-7520-4977-B856-C33A218F072B@yale.edu>
References: <7A747ABD-7520-4977-B856-C33A218F072B@yale.edu>
Message-ID: <CANoSnpARsdKknB7Nu+j5MW4JkqG502c9aWe8Ud0Y9jQn1v4m2A@mail.gmail.com>

A friend that works with NHK World has told me that NHK is undergoing a
major shift regarding its relationship to international distribution, and
this seems to be the best evidence of it. He said the shift is driven by
their desire to collect data, broadcasting is out and streaming involving
clicking is in.

I don't know. Everything up to this point felt ill-conceived and never
worth the money. Doesn't sound that much worse!

Markus
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From susanneschermann at yahoo.co.jp  Tue Apr  2 10:50:06 2024
From: susanneschermann at yahoo.co.jp (Schermann Susanne)
Date: Tue, 2 Apr 2024 23:50:06 +0900 (JST)
Subject: [KineJapan] Oppenheimer in Japan
In-Reply-To: <CAMsAtOb4tNYdtoKYYKKfh2-JMe+0quhQf5AJdhSQABi+pT7wUw@mail.gmail.com>
References: <CAA7VZxjVHkcERMuTruzhPdgLy=kT9QdcXVaQznKD3pt+LegtQA@mail.gmail.com>
 <CAMsAtOb4tNYdtoKYYKKfh2-JMe+0quhQf5AJdhSQABi+pT7wUw@mail.gmail.com>
Message-ID: <1652807426.265958.1712069406823@mail.yahoo.co.jp>

* { font-size: 13px; font-family: 'MS P????', sans-serif;}p, ul, ol, blockquote { margin: 0;}a { color: #0064c8; text-decoration: none;}a:hover { color: #0057af; text-decoration: underline;}a:active { color: #004c98;}
Dear all,




the distributor of Oppenheimer and the cinemas might be afraid of far right groups. When they think something it is harming Japan in some way (the bar often is quite low...), they might become quite unpleasant, to say the least.




Just a personal idea, not more. Will see the film soon and look out for warnings and the like

Best

Susanne













----- Original Message -----




From: "Japanese Cinema Discussion Forum" <kinejapan at mailman.yale.edu>

To: "Japanese Cinema Discussion Forum" <kinejapan at mailman.yale.edu>

Cc: "Peter Larson" <pslarson2 at gmail.com>

Date: 2024/04/02 ? 03:26

Subject: Re: [KineJapan] Oppenheimer in Japan







This is just so strange to me. School trips go to Hiroshima or Nagasaki and there's no obvious indication that kids or adults are particularly traumatized by the experience in any way.?




Oppenheimer wouldn't seem to me to be very traumatic for anyone, anywhere, as it doesn't actually show any (to my recollection) of the damage, and even if it did, I would highly doubt that someone born in the 1960s or 70s would feel any more trauma than seeing any other type of film.?




One wonders if this is simply hand wringing on the part of well meaning (or ignorant) Westerners, or possibly some clever marketing tactic.?




I simply have never met a single person who seemed particularly traumatized about the bombings, even in Nagasaki where I was faculty for a while.?




Well, expect that one drunk guy in Osaka who started screaming about Hiroshima in a bar in 1996 while throwing money at me, but that's a different story.?




On Mon, Apr 1, 2024 at 6:15?AM Rea Amit via KineJapan <kinejapan at mailman.yale.edu> wrote:

Hello everyone, 




Here is a NYT piece from today about Nolan?s Oscar-winning film in Japan:




https://www.nytimes.com/2024/04/01/world/asia/oppenheimer-opens-japan.html




While there is a lot to to say about the reception of the film in Japan, I am particularly intrigued by this: 







"Mindful of domestic sensitivities, some theaters in Japan are carrying trigger warnings, with signs cautioning audiences about scenes 'that may remind viewers of the damage caused by the atomic bombings.'?







I asked people I know in Japan who have seen the film, but they were not warned. Does anyone know what these ?trigger warnings? might be? 

?

Have these kinds of signs been used in other screenings in the past? Which theaters use them? 




I would appreciate any information about this.




Thanks,

Rea

























_______________________________________________

 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
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From jimharper666 at yahoo.co.uk  Wed Apr  3 09:35:40 2024
From: jimharper666 at yahoo.co.uk (Jim Harper)
Date: Wed, 3 Apr 2024 13:35:40 +0000 (UTC)
Subject: [KineJapan] Oppenheimer in Japan
In-Reply-To: <1652807426.265958.1712069406823@mail.yahoo.co.jp>
References: <CAA7VZxjVHkcERMuTruzhPdgLy=kT9QdcXVaQznKD3pt+LegtQA@mail.gmail.com>
 <CAMsAtOb4tNYdtoKYYKKfh2-JMe+0quhQf5AJdhSQABi+pT7wUw@mail.gmail.com>
 <1652807426.265958.1712069406823@mail.yahoo.co.jp>
Message-ID: <68229612.6626892.1712151340429@mail.yahoo.com>

 I didn't see any warnings at the screening I saw last week. The screening (in Hiroshima) wasn't particularly well-attended. For what it's worth, my wife (whose family were living in the city in 1945) wasn't offended by the film at all; she saw Oppenheimer as a brilliant but naive man who genuinely regretted what he'd unleashed.

Jim Harper.

     On Tuesday, 2 April 2024 at 23:50:23 GMT+9, Schermann Susanne via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 #yiv7079151384 * {font-size:13px;font-family:'MS P????', sans-serif;}#yiv7079151384 p, #yiv7079151384 ul, #yiv7079151384 ol, #yiv7079151384 blockquote {margin:0;}#yiv7079151384 a {color:#0064c8;text-decoration:none;}#yiv7079151384 a:hover {color:#0057af;text-decoration:underline;}#yiv7079151384 a:active {color:#004c98;}
Dear all,




the distributor of Oppenheimer and the cinemas might be afraid of far right groups. When they think something it is harming Japan in some way (the bar often is quite low...), they might become quite unpleasant, to say the least.




Just a personal idea, not more. Will see the film soon and look out for warnings and the like

Best

Susanne













----- Original Message -----




From: "Japanese Cinema Discussion Forum" <kinejapan at mailman.yale.edu>

To: "Japanese Cinema Discussion Forum" <kinejapan at mailman.yale.edu>

Cc: "Peter Larson" <pslarson2 at gmail.com>

Date: 2024/04/02 ? 03:26

Subject: Re: [KineJapan] Oppenheimer in Japan







This is just so strange to me. School trips go to Hiroshima or Nagasaki and there's no obvious indication that kids or adults are particularly traumatized by the experience in any way.?




Oppenheimer wouldn't seem to me to be very traumatic for anyone, anywhere, as it doesn't actually show any (to my recollection) of the damage, and even if it did, I would highly doubt that someone born in the 1960s or 70s would feel any more trauma than seeing any other type of film.?




One wonders if this is simply hand wringing on the part of well meaning (or ignorant) Westerners, or possibly some clever marketing tactic.?




I simply have never met a single person who seemed particularly traumatized about the bombings, even in Nagasaki where I was faculty for a while.?




Well, expect that one drunk guy in Osaka who started screaming about Hiroshima in a bar in 1996 while throwing money at me, but that's a different story.?




On Mon, Apr 1, 2024 at 6:15?AM Rea Amit via KineJapan <kinejapan at mailman.yale.edu> wrote:

Hello everyone, 




Here is a NYT piece from today about Nolan?s Oscar-winning film in Japan:




https://www.nytimes.com/2024/04/01/world/asia/oppenheimer-opens-japan.html




While there is a lot to to say about the reception of the film in Japan, I am particularly intrigued by this: 







"Mindful of domestic sensitivities, some theaters in Japan are carrying trigger warnings, with signs cautioning audiences about scenes 'that may remind viewers of the damage caused by the atomic bombings.'?







I asked people I know in Japan who have seen the film, but they were not warned. Does anyone know what these ?trigger warnings? might be? 

?

Have these kinds of signs been used in other screenings in the past? Which theaters use them? 




I would appreciate any information about this.




Thanks,

Rea

























_______________________________________________

 KineJapan mailing list

 KineJapan at mailman.yale.edu

 https://mailman.yale.edu/mailman/listinfo/kinejapan




_______________________________________________

KineJapan mailing list

KineJapan at mailman.yale.edu

https://mailman.yale.edu/mailman/listinfo/kinejapan
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From aaron.gerow at yale.edu  Thu Apr  4 18:26:06 2024
From: aaron.gerow at yale.edu (Aaron Gerow)
Date: Thu, 4 Apr 2024 18:26:06 -0400
Subject: [KineJapan] Kinema Club website
Message-ID: <6C458ADC-C380-4988-B6B2-C2D405FD4190@yale.edu>

I just wanted to let everyone know that the Kinema Club website has been updated. It?s not an update of content?yet?but rather of platform. As many of you know, both the Kinema Club website and KineJapan are run out of Yale servers. The website in YaleSites, but it was decided last year that YaleSites would update to Drupal 9, a change that would necessitate that all sites on the platform would have to be redone with the new functionality of Drupal 9 in mind. All the departments at Yale, for instance, are now doing that, but all other websites hosted on YaleSites have to do it as well. So I hired a web tech with experience with Drupal 9 to redo the website for the new platform. There result has now been uploaded:

https://kinemaclub.org/?

The result is a lot cleaner, especially for the announcements. My main problem is that you have to use a limited number of set templates, so the new website had to use one that has the Yale name at the top (that was not the case before, even though Yale did appear at the bottom of the page).

Markus and I identified a number of corrections that need to be made, and we?ll get to that soon. There are a probably other major changes that could be made and hopefully we can talk about it, maybe at Sheffield. 

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






















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From reavolution at gmail.com  Fri Apr  5 10:06:45 2024
From: reavolution at gmail.com (Rea Amit)
Date: Fri, 5 Apr 2024 09:06:45 -0500
Subject: [KineJapan] Oppenheimer in Japan
In-Reply-To: <68229612.6626892.1712151340429@mail.yahoo.com>
References: <CAA7VZxjVHkcERMuTruzhPdgLy=kT9QdcXVaQznKD3pt+LegtQA@mail.gmail.com>
 <CAMsAtOb4tNYdtoKYYKKfh2-JMe+0quhQf5AJdhSQABi+pT7wUw@mail.gmail.com>
 <1652807426.265958.1712069406823@mail.yahoo.co.jp>
 <68229612.6626892.1712151340429@mail.yahoo.com>
Message-ID: <CAA7VZxiRZY+NtQOxiCwhfzPiPbC8PJ59PTV6um4xg96S1kA8yw@mail.gmail.com>

Thank you all for sharing your experience and thoughts about this.

I ended up reaching out to Motoko Rich, and she was extremely quick to
write:

"The distributor, Bitters End, provided the signs for theaters to choose
whether they wanted to post outside auditoriums. My colleague saw one in
Yokohama and others posted them on social media."

This implies that no warnings were used during the screenings themselves.
It likely also indicates that many (if not most) theaters opted not to
alert their potential patrons before screenings.

Best,
Rea



On Wed, Apr 3, 2024 at 8:35?AM Jim Harper via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> I didn't see any warnings at the screening I saw last week. The screening
> (in Hiroshima) wasn't particularly well-attended. For what it's worth, my
> wife (whose family were living in the city in 1945) wasn't offended by the
> film at all; she saw Oppenheimer as a brilliant but naive man who genuinely
> regretted what he'd unleashed.
>
> Jim Harper.
>
> On Tuesday, 2 April 2024 at 23:50:23 GMT+9, Schermann Susanne via
> KineJapan <kinejapan at mailman.yale.edu> wrote:
>
>
> Dear all,
>
>
> the distributor of Oppenheimer and the cinemas might be afraid of far
> right groups. When they think something it is harming Japan in some way
> (the bar often is quite low...), they might become quite unpleasant, to say
> the least.
>
>
> Just a personal idea, not more. Will see the film soon and look out for
> warnings and the like
>
> Best
>
> Susanne
>
>
>
>
>
> ----- Original Message -----
>
>
> *From: *"Japanese Cinema Discussion Forum" <kinejapan at mailman.yale.edu>
>
> *To: *"Japanese Cinema Discussion Forum" <kinejapan at mailman.yale.edu>
>
> *Cc: *"Peter Larson" <pslarson2 at gmail.com>
>
> *Date: *2024/04/02 ? 03:26
>
> *Subject: *Re: [KineJapan] Oppenheimer in Japan
>
>
>
> This is just so strange to me. School trips go to Hiroshima or Nagasaki
> and there's no obvious indication that kids or adults are particularly
> traumatized by the experience in any way.
>
>
> Oppenheimer wouldn't seem to me to be very traumatic for anyone, anywhere,
> as it doesn't actually show any (to my recollection) of the damage, and
> even if it did, I would highly doubt that someone born in the 1960s or 70s
> would feel any more trauma than seeing any other type of film.
>
>
> One wonders if this is simply hand wringing on the part of well meaning
> (or ignorant) Westerners, or possibly some clever marketing tactic.
>
>
> I simply have never met a single person who seemed particularly
> traumatized about the bombings, even in Nagasaki where I was faculty for a
> while.
>
>
> Well, expect that one drunk guy in Osaka who started screaming about
> Hiroshima in a bar in 1996 while throwing money at me, but that's a
> different story.
>
>
> On Mon, Apr 1, 2024 at 6:15?AM Rea Amit via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> Hello everyone,
>
>
> Here is a NYT piece from today about Nolan?s Oscar-winning film in Japan:
>
>
> https://www.nytimes.com/2024/04/01/world/asia/oppenheimer-opens-japan.html
>
>
> While there is a lot to to say about the reception of the film in Japan, I
> am particularly intrigued by this:
>
>
>
> "Mindful of domestic sensitivities, some theaters in Japan are carrying
> trigger warnings, with signs cautioning audiences about scenes 'that may
> remind viewers of the damage caused by the atomic bombings.'?
>
>
>
> I asked people I know in Japan who have seen the film, but they were not
> warned. Does anyone know what these ?trigger warnings? might be?
>
>
>
> Have these kinds of signs been used in other screenings in the past? Which
> theaters use them?
>
>
> I would appreciate any information about this.
>
>
> Thanks,
>
> Rea
>
>
>
>
>
>
>
>
>
> _______________________________________________
>
> KineJapan mailing list
>
> KineJapan at mailman.yale.edu
>
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
>
> _______________________________________________
>
> KineJapan mailing list
>
> KineJapan at mailman.yale.edu
>
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From nornes at umich.edu  Sun Apr 14 21:54:20 2024
From: nornes at umich.edu (Markus Nornes)
Date: Mon, 15 Apr 2024 10:54:20 +0900
Subject: [KineJapan] Japanese Paper Film Project
Message-ID: <CANoSnpBZf_uun0Me+GYKiibw1jfKYeyjZ9eCX9sbguZQNSAyDw@mail.gmail.com>

I just stumbled on the Japanese Paper Film Project. It's amazing!

https://kamifirumu.scholar.bucknell.edu

Amazing for the content and the technical creativity. Check out this page,
and definitely give a gander to the Twitter page where they have uploaded
many splendid samples.

Is anyone on KineJapan from this project?

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/
<http://www-personal.umich.edu/~nornes/>*
*Department of Film, Television and Media*
*6348 North Quad*
*105 S. State Street**Ann Arbor, MI 48109-1285*
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From aaron.gerow at yale.edu  Sun Apr 14 22:51:48 2024
From: aaron.gerow at yale.edu (Aaron Gerow)
Date: Sun, 14 Apr 2024 22:51:48 -0400
Subject: [KineJapan] Japanese Paper Film Project
In-Reply-To: <CANoSnpBZf_uun0Me+GYKiibw1jfKYeyjZ9eCX9sbguZQNSAyDw@mail.gmail.com>
References: <CANoSnpBZf_uun0Me+GYKiibw1jfKYeyjZ9eCX9sbguZQNSAyDw@mail.gmail.com>
Message-ID: <A7F566C8-1D87-42D8-B13B-260844DF77BD@yale.edu>

This reminds me of when Otona no Kagaku, a magazine that always included a kit for making something, did an issue on a paper film projector.

https://otonanokagaku.net/magazine/vol15/index.html

I got it and put it together, and sometimes show it in class. One of the films provided was by Aoyama Shinji.

Aaron

> 4/14/24 ??9:54?Markus Nornes via KineJapan <kinejapan at mailman.yale.edu>????:
> 
> I just stumbled on the Japanese Paper Film Project. It's amazing!
> 
> https://kamifirumu.scholar.bucknell.edu <https://kamifirumu.scholar.bucknell.edu/>
> 
> Amazing for the content and the technical creativity. Check out this page, and definitely give a gander to the Twitter page where they have uploaded many splendid samples. 
> 
> Is anyone on KineJapan from this project?
> 
> 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

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From matteo.boscarol at gmail.com  Sun Apr 14 23:11:09 2024
From: matteo.boscarol at gmail.com (matteoB)
Date: Mon, 15 Apr 2024 12:11:09 +0900
Subject: [KineJapan] Japanese Paper Film Project
In-Reply-To: <A7F566C8-1D87-42D8-B13B-260844DF77BD@yale.edu>
References: <CANoSnpBZf_uun0Me+GYKiibw1jfKYeyjZ9eCX9sbguZQNSAyDw@mail.gmail.com>
 <A7F566C8-1D87-42D8-B13B-260844DF77BD@yale.edu>
Message-ID: <CAO3jzpzkfXVYDDNFFAZvtfRq9KCZRP21wFMC66_OHQ+Bce7LwA@mail.gmail.com>

I have one too, and one film is, if I'm not mistaken, by ?bayashi Nobuhiko

matteo

On Mon, 15 Apr 2024, 11:52 Aaron Gerow via KineJapan, <
kinejapan at mailman.yale.edu> wrote:

> This reminds me of when Otona no Kagaku, a magazine that always included a
> kit for making something, did an issue on a paper film projector.
>
> https://otonanokagaku.net/magazine/vol15/index.html
>
> I got it and put it together, and sometimes show it in class. One of the
> films provided was by Aoyama Shinji.
>
> Aaron
>
> 4/14/24 ??9:54?Markus Nornes via KineJapan <kinejapan at mailman.yale.edu
> >????:
>
> I just stumbled on the Japanese Paper Film Project. It's amazing!
>
> https://kamifirumu.scholar.bucknell.edu
>
> Amazing for the content and the technical creativity. Check out this page,
> and definitely give a gander to the Twitter page where they have uploaded
> many splendid samples.
>
> Is anyone on KineJapan from this project?
>
> 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/
> <http://www-personal.umich.edu/~nornes/>*
> *Department of Film, Television and Media*
> *6348 North Quad*
> *105 S. State Street**Ann Arbor, MI 48109-1285*
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From nornes at umich.edu  Mon Apr 15 00:06:35 2024
From: nornes at umich.edu (Markus Nornes)
Date: Mon, 15 Apr 2024 13:06:35 +0900
Subject: [KineJapan] Japanese Paper Film Project
In-Reply-To: <CAO3jzpzkfXVYDDNFFAZvtfRq9KCZRP21wFMC66_OHQ+Bce7LwA@mail.gmail.com>
References: <CANoSnpBZf_uun0Me+GYKiibw1jfKYeyjZ9eCX9sbguZQNSAyDw@mail.gmail.com>
 <A7F566C8-1D87-42D8-B13B-260844DF77BD@yale.edu>
 <CAO3jzpzkfXVYDDNFFAZvtfRq9KCZRP21wFMC66_OHQ+Bce7LwA@mail.gmail.com>
Message-ID: <CANoSnpAuhsUjGDiyyHFuPZawGNLr+DqqAQtvMNU-A+W1Pv2Bww@mail.gmail.com>

I have it, too!

Markus
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From elofgren at bucknell.edu  Mon Apr 15 09:44:22 2024
From: elofgren at bucknell.edu (Erik R. Lofgren)
Date: Mon, 15 Apr 2024 09:44:22 -0400
Subject: [KineJapan] Japanese Paper Film Project
In-Reply-To: <CANoSnpBZf_uun0Me+GYKiibw1jfKYeyjZ9eCX9sbguZQNSAyDw@mail.gmail.com>
References: <CANoSnpBZf_uun0Me+GYKiibw1jfKYeyjZ9eCX9sbguZQNSAyDw@mail.gmail.com>
Message-ID: <CAE=Fk5m1J3Bu0om8KA=Ti4k5vCPtz0rHvCLrO4=uz1FL4orPoA@mail.gmail.com>

Colleagues:

I shared Marcus's post with Eric Faden, the leader of the paper film
project.  He asked that I share the message below with the list.

* * * * *

Hi!  I'm Eric Faden, one of the members of The Japanese Paper Film
Project.  My colleague in East Asian Studies, Erik Lofgren, kindly shared
your posts about the project.

We just had a screening at The Museum of the Moving Image in NYC with music
by the amazing Yoko Reikano Kimura on koto (for films that didn't have a
soundtrack).  If I can answer any questions about the project, please feel
free to email me at efaden at bucknell.edu.  Thank you again for your
interest."
*_______________________________________________*
*Dr. Eric Faden*
*Professor of Film/Media Studies*

* * * * *

Erik

On Sun, Apr 14, 2024 at 9:54?PM Markus Nornes via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> I just stumbled on the Japanese Paper Film Project. It's amazing!
>
> https://kamifirumu.scholar.bucknell.edu
>
> Amazing for the content and the technical creativity. Check out this page,
> and definitely give a gander to the Twitter page where they have uploaded
> many splendid samples.
>
> Is anyone on KineJapan from this project?
>
> 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/
> <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
>


-- 

Erik R. Lofgren
Associate Professor and Chair
East Asian Studies Department

---------- * ---------- * ---------- * ---------- * ----------
Bucknell University
Lewisburg, PA  17837       Tel: 570-577-1765
---------- * ---------- * ---------- * ---------- * ----------
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From elofgren at bucknell.edu  Mon Apr 15 12:17:18 2024
From: elofgren at bucknell.edu (Erik R. Lofgren)
Date: Mon, 15 Apr 2024 12:17:18 -0400
Subject: [KineJapan] Japanese Paper Film Project
In-Reply-To: <CAE=Fk5m1J3Bu0om8KA=Ti4k5vCPtz0rHvCLrO4=uz1FL4orPoA@mail.gmail.com>
References: <CANoSnpBZf_uun0Me+GYKiibw1jfKYeyjZ9eCX9sbguZQNSAyDw@mail.gmail.com>
 <CAE=Fk5m1J3Bu0om8KA=Ti4k5vCPtz0rHvCLrO4=uz1FL4orPoA@mail.gmail.com>
Message-ID: <CAE=Fk5nYUNz4FXvJSkC1XZNkt9S2SmG2XgakgNKDyJezF0CQDw@mail.gmail.com>

Colleagues:

Overly fast typing!  Mar*K*us.  As someone with an unusual K, I should not
have made that mistake.  My apologies.

Erik

On Mon, Apr 15, 2024 at 9:44?AM Erik R. Lofgren <elofgren at bucknell.edu>
wrote:

> Colleagues:
>
> I shared Marcus's post with Eric Faden, the leader of the paper film
> project.  He asked that I share the message below with the list.
>
> * * * * *
>
> Hi!  I'm Eric Faden, one of the members of The Japanese Paper Film
> Project.  My colleague in East Asian Studies, Erik Lofgren, kindly shared
> your posts about the project.
>
> We just had a screening at The Museum of the Moving Image in NYC with
> music by the amazing Yoko Reikano Kimura on koto (for films that didn't
> have a soundtrack).  If I can answer any questions about the project,
> please feel free to email me at efaden at bucknell.edu.  Thank you again for
> your interest."
> *_______________________________________________*
> *Dr. Eric Faden*
> *Professor of Film/Media Studies*
>
> * * * * *
>
> Erik
>
> On Sun, Apr 14, 2024 at 9:54?PM Markus Nornes via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> I just stumbled on the Japanese Paper Film Project. It's amazing!
>>
>> https://kamifirumu.scholar.bucknell.edu
>>
>> Amazing for the content and the technical creativity. Check out this
>> page, and definitely give a gander to the Twitter page where they have
>> uploaded many splendid samples.
>>
>> Is anyone on KineJapan from this project?
>>
>> 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/
>> <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
>>
>
>
> --
>
> Erik R. Lofgren
> Associate Professor and Chair
> East Asian Studies Department
>
> ---------- * ---------- * ---------- * ---------- * ----------
> Bucknell University
> Lewisburg, PA  17837       Tel: 570-577-1765
> ---------- * ---------- * ---------- * ---------- * ----------
>


-- 

Erik R. Lofgren
Associate Professor and Chair
East Asian Studies Department

---------- * ---------- * ---------- * ---------- * ----------
Bucknell University
Lewisburg, PA  17837       Tel: 570-577-1765
---------- * ---------- * ---------- * ---------- * ----------
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From macyroger at yahoo.co.uk  Mon Apr 15 16:53:17 2024
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Mon, 15 Apr 2024 20:53:17 +0000 (UTC)
Subject: [KineJapan] Fukuda's 'Grasscutter's Tale' in London
References: <1416085032.14108160.1713214397622.ref@mail.yahoo.com>
Message-ID: <1416085032.14108160.1713214397622@mail.yahoo.com>


Amongst the diverse riches of ?Open City DocumentaryFestival? this year is a screening in London of Fukuda Katsuhiko?s A Grasscutter?sTale, 1985. I still only know this film from Markus? memorable account ofthis film and Fukuda?s relationship with Ogawa in his Forest of Pressurefrom page 247.

Alas, I will be away for this festival so it will remain unseen by me foran age more.

https://opencitylondon.com/events/grandmas-grammar-2-refusals-of-the-given-a-grass-cutters-tale/

Roger
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From jennifer.coates at sheffield.ac.uk  Mon Apr 15 13:14:19 2024
From: jennifer.coates at sheffield.ac.uk (Jennifer Coates)
Date: Mon, 15 Apr 2024 18:14:19 +0100
Subject: [KineJapan] Kinema Club in Sheffield 12-14 June 2024
Message-ID: <CAEqzcbW45wbckpWSjqa95Lx9FbDVzJOLUfOSw-rf5wt8-GkQJw@mail.gmail.com>

Dear KineJapan list members,

We would like to share the programme for our upcoming Kinema Club
conference in Sheffield, running 12-14th June in parallel with Sheffield
Doc Fest. Please find a full programme attached.

If you find yourself in the neighbourhood this summer, you are very welcome
to join us in person. If you would like to join us online, please email
KinemaClub2024 at gmail.com to receive Zoom information and an online version
of the programme.

With best wishes,
Jennifer Coates and Julia Alekseyeva

-- 
Professor Jennifer Coates
Professor of Japanese Studies
Departmental Director of Research & Innovation (DDRI)
School of East Asian Studies (SEAS)
University of Sheffield
Office 4.21, Floor 4, Jessop West, 1 Upper Hanover St, Broomhall, Sheffield
S3 7RA

Recent publications:
Coates, J. 2023. "Voices from an Unusual Archive: University Film Circle
Writings, 1945-1960," The Asia Pacific Journal: Japan Focus, Volume 21:
Issue 6: Number 3, Article ID 5777. <https://apjjf.org/2023/6/Coates.html>
Buchheim, E. and Coates, J. 2023. *War Memory and East Asian Conflicts,
1930?1945. *Palgrave Macmillan.
<https://link.springer.com/book/10.1007/978-3-031-23918-2>
Coates, J. 2022. *Film Viewing in Postwar Japan, 1945-1968: An Ethnographic
Study.* Edinburgh University Press.
<https://edinburghuniversitypress.com/book-film-viewing-in-postwar-japan-1945-1968-an-ethnographic-study.html>

ORCID: 0000-0003-4326-1481
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From sissu at basicray.org  Wed Apr 17 10:55:41 2024
From: sissu at basicray.org (sissu tarka)
Date: Wed, 17 Apr 2024 16:55:41 +0200
Subject: [KineJapan] question regarding Japanese publishers
 theory-philosophy-art & humanities
In-Reply-To: <CAE=Fk5nYUNz4FXvJSkC1XZNkt9S2SmG2XgakgNKDyJezF0CQDw@mail.gmail.com>
References: <CANoSnpBZf_uun0Me+GYKiibw1jfKYeyjZ9eCX9sbguZQNSAyDw@mail.gmail.com>
 <CAE=Fk5m1J3Bu0om8KA=Ti4k5vCPtz0rHvCLrO4=uz1FL4orPoA@mail.gmail.com>
 <CAE=Fk5nYUNz4FXvJSkC1XZNkt9S2SmG2XgakgNKDyJezF0CQDw@mail.gmail.com>
Message-ID: <20240417165541.Horde.BhGPS8HZKsJ8qc-yDkQh9bM@webmail.servus.at>

dear Kine-Japan collective,
I am writing with an enquiry about publishers in Japan, who specialise  
on theory, philosophy, art & humanities. I am asking for a current  
collaborator of mine, an established philosopher whose investigations  
cover the fields of environmental philosophy and ecological thought,  
political theory, and phenomenology. And who has published widely in  
the Anglo American context.

Does one of you know of any publishers in. Japan who might be  
interested in getting his writings translated and published in the  
Japanese/East Asian context.

Any links would be much appreciated.

thank you!
verina

    The Last Resident[1]

    Wild Iconographies[2]

    animate assembly[3]

    Academy business[4].?professor in fine arts.



Links:
------
[1]  
https://url11.mailanyone.net/scanner?m=1rUO7f-0008Dy-3v&d=4%7Cmail%2F90%2F1706521200%2F1rUO7f-0008Dy-3v%7Cin11i%7C57e1b682%7C12930452%7C7700077%7C65B7727B2DBF839178417458A083D517&o=%2Fphtw%3A%2Fwtsbtw.rrnese.rg-osscpecrm%2F%2Fdutpot-thras-el%2Ftnedise&s=XLhvzZ_n_wC1PW4B1bL_xchMWaE
[2]  
https://url11.mailanyone.net/scanner?m=1rUO7f-0008Dy-3v&d=4%7Cmail%2F90%2F1706521200%2F1rUO7f-0008Dy-3v%7Cin11i%7C57e1b682%7C12930452%7C7700077%7C65B7727B2DBF839178417458A083D517&o=%2Fphta%3A%2Fatskra.e.h%2Fogarn%2Fmgrmporpesmoga%2Fri%2Fmeaernsv-a-gierwfdoildrong-cseihpa&s=OQwGp1JGB2iiByaF392vUgylH0g
[3]  
https://url11.mailanyone.net/scanner?m=1rUO7f-0008Dy-3v&d=4%7Cmail%2F90%2F1706521200%2F1rUO7f-0008Dy-3v%7Cin11i%7C57e1b682%7C12930452%7C7700077%7C65B7727B2DBF839178417458A083D517&o=%2Fphtw%3A%2Fwtstnw.amaeai.mssrlyoeb%2Fg&s=O24A3w3DWW-7qnksD6VLl3v6WNY
[4]  
https://url11.mailanyone.net/scanner?m=1rUO7f-0008Dy-3v&d=4%7Cmail%2F90%2F1706521200%2F1rUO7f-0008Dy-3v%7Cin11i%7C57e1b682%7C12930452%7C7700077%7C65B7727B2DBF839178417458A083D517&o=%2Fphtw%3A%2Fwtsuhw.s.l.kmtne%2Fcarie%2Fomlealm-%2Faeartyadm-cel-w-omsecofpr-ssroegiveaa-frnred&s=Vh1Za88_wgOLFcDuALKxirATmP8
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From florian at nipponconnection.com  Thu Apr 18 05:40:04 2024
From: florian at nipponconnection.com (=?UTF-8?Q?Florian_H=C3=B6hr?=)
Date: Thu, 18 Apr 2024 11:40:04 +0200
Subject: [KineJapan] =?utf-8?q?1_von_4=2E443_24th_Japanese_Film_Festival_?=
	=?utf-8?q?Nippon_Connection=2C_May_25_=E2=80=93_June_2_2024=2C_Fra?=
	=?utf-8?q?nkfurt_am_Main=2C_Germany?=
Message-ID: <CAK7Pq0kYtk1mJwHTLnn060YYNmiiozVPDnisLvTb1b3r8NBE0Q@mail.gmail.com>

Dear members of the list,

in just over one month, the *24th edition of the Japanese Film Festival
Nippon Connectio*n will begin in Frankfurt am Main, Germany. The festival
will take place from May 28 till June 2 2024
Some of the first highlights have already been announced.

Nippon Connection will showcase around* 100 short and feature films *at
eight venues. The country's culture will also be explored through the
extensive *culture program*, reflecting Japan's musical, culinary, and
artistic diversity.

The Nippon Connection Film Festival presents works by both established
filmmakers and emerging directors. From Takeshi Kitano's action-packed
samurai film *KUBI* to the captivating comedy *Fly Me To The Saitama **-FROM
BIWA LAKE WITH LOVE-* by Hideki Takeuchi, and Yoshimi Itazu's imaginative
animation *The Concierge*, the film program offers highlights of various
genres. Most films will celebrate their German, European, or international
premieres at the festival. The festival's focus on *Crossing Borders*,
supported by the Kulturfonds Frankfurt RheinMain, explores the relationship
and mutual influence between Japanese and other film cultures. For this
occasion, the retrospective will showcase seven classics of *Japanese film
noir*, influenced by American crime dramas and German film expressionism.

Nippon Connection is also a place to meet and exchange, especially at the
two festival centers, *K?nstler*innenhaus Mousonturm and Produktionshaus
NAXOS*. Resembling a Japanese market, *food and crafts stalls* at the
freely accessible festival grounds provide the opportunity to escape from
the summer heat and immerse oneself in the country's cuisine. Additionally,
the diverse cultural program featuring concerts by *Japanese bands, DIY
workshops, lectures on Japanese culture, open-air events, tastings, and
cooking classes* invite visitors to enjoy the festival's ambiance until
late into the evening.

Around *50 filmmakers from Japan* will attend the festival to present their
works and engage with the audience, including actress *Kotone Furukawa*,
who will receive the *Nippon Rising Star Award*. This year also marks the
inaugural presentation of the *Nippon Storytelling Award* for the best
screenplay. The ?1,000 prize is sponsored by the Storymaker Agency for
Public Relations.
The *complete program* and tickets will be available on the festival
website as of *May 4th, 2024*.
You can find our *accreditation form* here
<https://nipponconnection.com/en/press/accreditation/>.
We also have several partner hotels
<https://nipponconnection.com/en/service/hotels/> with special conditions
during the time of the festival.

*First Program Highlights In Detail*

*Films With Guest Of Honor Kotone Furukawa*

The guest of honor of the 24th Nippon Connection Film Festival is
actress *Kotone
Furukawa*, who will receive the *Nippon Rising Star Award* for exceptional
emerging talent at the festival on June 2, 2024. Kotone Furukawa gained
international recognition through the award-winning drama *Wheel Of Fortune
And Fantasy* by Ryusuke Hamaguchi. Nippon Connection presents a selection
of her films, including the new horror film *Best Wishes To All *by Yuta
Shimotsu, which will celebrate its German premiere in the presence of the
director and Kotone Furukawa. Another highlight will be the *world premiere*
of the romantic-mysterious drama *Secret: A Hidden Score* by Hayato Kawai,
starring Kotone Furukawa as a lovestruck music student.

*Films By Renowned Directors*

As a special treat for genre fans, the festival presents the German
premiere of Takeshi Kitano's samurai film *KUBI*, which delves into Japan's
past full of political intrigue and action-packed battles while also
addressing queer aspects of samurai culture. Nobuhiro Yamashita's musical
comedy *Let?s Go Karaoke! *revolves around the unexpected friendship
between a sentimental yakuza and a pubescent choir singer. Another
highlight is *Fly Me To The Saitama -FROM BIWA LAKE WITH LOVE-* by Hideki
Takeuchi. The colorful comedy aptly satirizes regional peculiarities of
Japan. Many of the showcased films reference pivotal events in Japan's
history, such as Shunji Iwai's drama *Kyrie*, where an orphaned girl makes
her way as a singer in the aftermath of the Tohoku natural disasters.
Keisuke Yoshida portrays a family grappling with the media attention
surrounding the unsolved disappearance of their daughter in his film
*missing*.

*Films By Emerging Directors*

The Nippon Connection Japanese Film Festival serves as one of the first
platforms for many emerging filmmakers to showcase their works to a wide
audience. Actor and director Ren Sudo will present his film *Abyss *as an
international premiere, depicting the complicated love story of two
fate-stricken young individuals in Tokyo. Ryoma Kosasa's
multi-award-winning debut film *PushPause *tells stories of comfort
surrounding the Coco Guesthouse. With bite and irony, Ryo Ushimaru's *Qualia
*takes aim at the traditional Japanese family image. The unconventional
comedy will celebrate its international premiere in the presence of the
director at the festival.

*Animation Films*

Fans of Japanese animation films can look forward to the adventures of the
animal visitors of a special department store in *The Concierge* by Yoshimi
Itazu. The festival also presents the energetic anime *BLUE GIANT* by
Yuzuru Tachikawa, narrating the success story of a jazz trio. Shojiro
Nishimi's melancholic sci-fi drama *PHOENIX: Reminiscence Of Flower *takes
viewers on a breathtaking journey through space.

*Crossing Borders*

At the heart of this year's thematic focus, *Crossing Borders*, are films
and talks dedicated to the mutual influence and collaboration between
Japanese and international filmmakers. The festival showcases Arnold
Fanck's drama *Die Tochter des Samurai* (1937) as one of the first
German-Japanese co-productions at the cinema of the DFF ? Deutsches
Filminstitut & Filmmuseum. Dr. Iris Haukamp will give a lecture on the
interesting history of this controversial film. Representing a current
German-Japanese co-production is the documentary *Johatsu ? Into Thin Air*
by Andreas Hartmann and Arata Mori, focusing on the organized and
self-determined disappearance of people in Japan. The feature film *18x2
Beyond Youthful Days* tells a deeply touching love story, directed by
Michihito Fujii with an international cast and shot in Taiwan and Japan.

*Concerts, Workshops, Lectures & Children's Program*

Among the musical highlights of the program are *concerts *featuring singer
Ai Higuchi, the band Samurai Apartment, taiko player TAKUYA, and a vinyl
listening evening with Japanese audio brand Audio-Technica.
Additionally, *workshops
*on manga drawing and Japanese handicrafts, multiple* cooking classes*,
whisky tastings by Beam Suntory, as well as sake and matcha *tastings *are
offered. Young visitors of the festival are also catered to with the Nippon
Kids program, including an aikido workshop and performances of the Japanese
paper theater kamishibai.

*Tickets*

The complete *program and tickets* will be available on the festival website as
of *May 4th, 2024: **NipponConnection.com* <http://nipponconnection.com>

*Event Locations*

Festival Centers: K?nstler*innenhaus Mousonturm and Produktionshaus NAXOS
Additional venues in Frankfurt am Main: Eldorado Arthouse Kino, cinema of
the DFF ? Deutsches Filminstitut & Filmmuseum, Mal Seh?n Kino,
Internationales Theater Frankfurt, Saalbau Bornheim, NaxosAtelier

*About the festival*

The *Japanese Film Festival Nippon Connection *is organized by the
80-member, largely voluntary team of the *non-profit association Nippon
Connection e.V.*  It is under the *patronage *of the Hessian State Minister
for Science and Research, Arts and Culture, Timon Gremmels, the Mayor of
the City of Frankfurt am Main, Mike Josef, and the Consulate General of
Japan in Frankfurt am Main. Since its founding in 2000, Nippon Connection
has become the world?s largest platform for Japanese cinema and the most
popular film festival in Hesse with more than 18,500 visitors in 2023.
I would be happy to see some of you at the festival!

Best regards,
Florian H?hr

-- 
Program Director

Nippon Connection
** * *
24th Japanese Film Festival
May 28 ? June 2, 2024
Frankfurt am Main, Germany

Office: Nippon Connection e.V., c/o Atelierfrankfurt, Room 5.08
Schwedlerstra?e 1-5, 60314 Frankfurt am Main, Germany
Mobile: +49 (0)176 630 821 77
Phone: +49 69 847 765 65, Fax: +49 69 847 765 66
Florian at NipponConnection.com
www.NipponConnection.com
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From aaron.gerow at yale.edu  Thu Apr 18 17:27:16 2024
From: aaron.gerow at yale.edu (Aaron Gerow)
Date: Thu, 18 Apr 2024 17:27:16 -0400
Subject: [KineJapan] Japanese comedy series and Ogigami Naoko
Message-ID: <FA2AE45B-F5DD-4A8E-B515-049FE8C843CC@yale.edu>

COMIC LEGACIES ON THE JAPANESE SILVER SCREEN

As many of you know, we at Yale have been running a 13-film series of Japanese film comedies since February. The last event in the series will be this Saturday, April 20, 2024, and will feature the screening of two films and a panel discussion with two special guests.

7:00: Kamome Diner (????? , 2006)
directed by Naoko Ogigami
1h 42m, 35mm

8:50: Q&A and Panel Discussion featuring director Ogigami Naoki and NFAJ curator Tomita Mika, with Xavi Sawada and Aaron Gerow

10:00 Make Way for the Jaguars! (???????? ????, 1968)
directed by Yoichi Maeda
1h 23m, 35mm
World premiere of an English subtitled version made at Yale.

Location: Alice Cinema (L01), Humanities Quadrangle, Yale
Free and open to the public

https://ceas.yale.edu/events/double-feature-kamome-diner-2006-make-way-jaguars-1968-director-panel

I hope people in the vicinity can come and join us.

I also urge you to download the 20-page pamphlet for the series that the students and I prepared:
https://elischolar.library.yale.edu/ceas_film_series/3/


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























From macyroger at yahoo.co.uk  Sat Apr 20 05:16:53 2024
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Sat, 20 Apr 2024 09:16:53 +0000 (UTC)
Subject: [KineJapan] MJHW (Online) on Japan's First Talking Film - April -
 recording
In-Reply-To: <c3bb8b0b-1504-4fff-b96d-c20a0e3df89fn@googlegroups.com>
References: <d17afd3a-bbc7-4d22-9b08-710cd138f328n@googlegroups.com>
 <c3bb8b0b-1504-4fff-b96d-c20a0e3df89fn@googlegroups.com>
Message-ID: <1307328562.2435204.1713604613073@mail.yahoo.com>

 Dear KineJapaners,In case anyone wants to catch up.
Several listmembers joined in, including Iris.
By the way, hopefully, there will be a pile of Iris' book for sale in Frankfurt ??

Roger

   ----- Forwarded message ----- From: Joelle Nazzicone <joelle.nazzicone at gmail.com>To: Modern Japan History Workshop <modern-japanese-history-workshop at googlegroups.com>Sent: Saturday, 20 April 2024 at 02:46:24 BSTSubject: Re: Reminder: MJHW (Online) on Japan's First Talking Film - Thursday, April 11th
 ADDENDUM: For those who were unable to attend last week?s session, the recorded video has been made publicly available, and can be accessed at the workshop?s site here, or alternatively, through the following link: https://youtu.be/JwLMEEWBgXU.

On Monday 8 April 2024 at 10:21:41 UTC+9 Joelle Nazzicone wrote:


Please join us for the next meeting of the Modern Japan History Workshop on Thursday, April 11th at 19:00 JST. ?Our presenter this month will be Wayne Arnold (University of Kitakyushu), who will present his work on Japan's first talking film (details below).

This month's session will be held online through Zoom, and can be accessed using the following sign-in information:

Meeting link: https://rikkyo-ac-jp.zoom.us/j/86023930516?pwd=Q2dIOXlRbkVNd2dVOGttRjJoNElSdz09

Meeting ID: 860 2393 0516
Passcode: 981185

The workshop is open to all, and no prior registration is required.

Please direct any questions to Joelle Nazzicone at joelle.n... at gmail.com.? We hope to see you there!

_______________________

Nippon (1932): The Journey of Japan?s First Talking Film

Wayne Arnold (University of Kitakyushu)

In this talk, I will provide a timeline and details chronicling the various screenings of the first Japanese talking film, Nippon (1932), produced in Berlin in late 1931. Previous research on this film details several of the critical events that led to its creation; however, until now, extensive examination has yet to detail the journey of the film across Europe after it was shown in Berlin in May 1932. By examining how Nippon was produced and distributed, we can better understand the complex film industry and distribution mechanisms at work during the peak period of the Great Depression. Between 1932 and 1934, Nippon was shown in specific European cities, with the most extensive screening in France. Since much of the research on Nippon has focussed on its release in Berlin, numerous fascinating elements concerning the December film release in Paris have been overlooked. Along with a performance by an acclaimed Japanese dancer, the Paris premiere was attended by the Japanese ambassador to France and several high-profile figures. The gala and subsequent film screening also received numerous reviews, highlighting an evident preference of the French for Japonisme.



-- 
You received this message because you are subscribed to the Google
Groups "Modern Japan History Workshop" group.
?
To unsubscribe from this group, send email to
modern-japanese-history-workshop+unsubscribe at googlegroups.com
For more options, visit this group at
http://groups.google.com/group/modern-japanese-history-workshop?hl=en
--- 
You received this message because you are subscribed to the Google Groups "Modern Japan History Workshop" group.
To unsubscribe from this group and stop receiving emails from it, send an email to modern-japanese-history-workshop+unsubscribe at googlegroups.com.
To view this discussion on the web visit https://groups.google.com/d/msgid/modern-japanese-history-workshop/c3bb8b0b-1504-4fff-b96d-c20a0e3df89fn%40googlegroups.com.
  
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From joanne.bernardi at rochester.edu  Mon Apr 22 17:22:39 2024
From: joanne.bernardi at rochester.edu (Bernardi, Joanne)
Date: Mon, 22 Apr 2024 21:22:39 +0000
Subject: [KineJapan] =?iso-2022-jp?b?RG9jdW1lbnRhcnkgZmlsbW1ha2VyIEhhbWFk?=
 =?iso-2022-jp?b?YSBIaWRlbyAbJEIhSklNRUQxUUlXIUsbKEJxdWVyeQ==?=
Message-ID: <SN7PR07MB9721F97938D1B7F315F87E87E9122@SN7PR07MB9721.namprd07.prod.outlook.com>

Dear colleagues,

I?m seeking more information on the filmmaker Hamada Hideo, who worked in 8mm and 16mm films (Hamada Productions), and specifically his film ?Wakai kokoro no uta,? which I?ve found translated as ?Poem of the Young Hearts?   (16mm, BW 55 min., 1969). Work on the film began in 1957 as an 8mm visual diary of second graders, and eventually focused on a blind student, Hasegawa Kiyoshi, after Hamada switched over to 16mm. I?ve found a few random references online but wondered if anyone can direct me to more substantial resources.

Thanks,

Joanne


--
Joanne Bernardi, Ph.D.
Professor of Japanese and Visual & Cultural Studies
Director, Mellon Digital Humanities Grant/Meliora Digital & Interdisciplinary Fellowship Program
Dept. of Modern Languages and Cultures
University of Rochester
PO Box 270082 | Rochester NY 14627 USA

Director, Re-Envisioning Japan: Japan as Destination in 20th Century Visual and Material Culture<https://rej.lib.rochester.edu/>
Recent publication (2023): ?Animate Objects,? Recollecting Collecting: A Film and Media Perspective<https://muse.jhu.edu/pub/27/edited_volume/book/118828>


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From unkleque at yahoo.com.au  Tue Apr 23 08:27:49 2024
From: unkleque at yahoo.com.au (quentin turnour)
Date: Tue, 23 Apr 2024 12:27:49 +0000 (UTC)
Subject: [KineJapan] The Korean cinema Kinejapan?
References: <1711941719.2666194.1713875269315.ref@mail.yahoo.com>
Message-ID: <1711941719.2666194.1713875269315@mail.yahoo.com>

I wonder if anyone can recommend an authoritative, academic peer listserv that looks and sounds like Kinejapan but is an equivalent gathering for the best and brightest on Korean cinema?
I assumed this would be an easy find. But discussion groups I've checked so far tend to be K-culture fan orientated, even when they clearly know their stuff. Assuming that Korean cinema studies is an adjacent field, hope the collective here can suggest something.
Thanks in advance,
Quentin TurnourCinema Reborn Film Festival, Sydney, Australia / National Archives of ditto.
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From echoi at movingimage.org  Thu Apr 25 16:56:16 2024
From: echoi at movingimage.org (Edo Choi)
Date: Thu, 25 Apr 2024 20:56:16 +0000
Subject: [KineJapan] Hiroshi Shimizu Retrospective at Museum of the Moving
 Image and Japan Society in New York (May 4 - June 1)
Message-ID: <BY3PR15MB507494659C395E73041F4603B5172@BY3PR15MB5074.namprd15.prod.outlook.com>

Hello KineJapan Forum,

Many of you have likely already seen the news, but Alexander Fee and I wanted to share you all details about the Museum of the Moving Image and Japan Society's upcoming retrospective of the films of Hiroshi Shimizu, which will open this coming Saturday, May 4 at the Museum:

An unsung master of Japanese cinema, Hiroshi Shimizu (1903?1966) was highly regarded by contemporaries Yasujir? Ozu and Kenji Mizoguchi for his seemingly effortless formal ingenuity, distinguished by his signature linear traveling shots and his naturalistic, open-air depictions of regional Japan. Shot on location and frequently employing non-actors, the loosely plotted, low-key tragicomedies that comprise his most characteristic work foregrounded the transient lives and hardships of everyday people with a marked regard for those pushed to the margins of society, including drifters, migrant workers, war veterans, persons with disabilities, outcast women, and especially children, in whom the director took a personal philanthropic interest and of whom he remarked: ?They are natural. They breathe the air. Films must have humans who breathe the air.?

This two-part retrospective offers the first New York survey of the major yet often overlooked filmmaker in more than 30 years and the largest ever assembled in North America.

Presented at the Museum, Part I: The Shochiku Years<https://movingimage.org/series/hiroshi-shimizu/> gathers the best films of Shimizu?s protean and varied career with the studio from his stark, strikingly modernist early melodramas, both silent and sound, through the lyrical tours of provincial life with which he would become chiefly associated. Highlights include the filmmaker?s best-known films in the United States (Japanese Girls at the Harbor, Mr. Thank You, The Masseurs and a Woman, Ornamental Hairpin) alongside rarer contemporaneous works that display the full stylistic and tonal range of this consummate craftsman?s accomplishments, including two of the director?s supreme masterpieces, Children in the Wind (1937) and its two-volume sequel Four Seasons of Children (1939). All films will be presented in 35mm prints imported from collections and archives in Japan.

Part II: The Postwar and Independent Years<https://japansociety.org/film/hiroshi-shimizu-the-postwar-and-independent-years/>, presented at Japan Society, tracks Shimizu?s career after leaving Shochiku, embarking on a new path into self-financed films, independent productions, and contract work at Shintoho and Daiei studios. Shimizu?s postwar filmography encapsulates the everyday tragedies of life, the delicate sentiments of love and loss in the wake of the war, and the pains that befall common people?from the hardships of motherhood to the ostracization of disability. Capturing Japan in a changing of eras, these films illustrate a nation trying to pull itself together, weaving themes of collective struggle and hope while focusing on the lives of the dispossessed. As part of the series, Japan Society has commissioned new English subtitles for five films?some never-before-seen in English-speaking countries.

best,
Edo



Edo Choi
Associate Curator of Film  & First Look Senior Programmer
718 777 6826917 921 0565
36-01 35 Ave,Astoria,
NY11106
movingimage.org
Follow us:


v.072922
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From aaron.gerow at yale.edu  Fri Apr 26 14:23:52 2024
From: aaron.gerow at yale.edu (Aaron Gerow)
Date: Fri, 26 Apr 2024 14:23:52 -0400
Subject: [KineJapan] Freda Freiberg
Message-ID: <6114A8B8-2529-4DA0-B012-AAB8674A5E1A@yale.edu>

Very sorry to hear from Adrian Martin that Freda Freiberg has passed away. She should be about 90.

Many of you have encountered her writings on Japanese cinema, especially on Naruse, Mizoguchi, Yamanaka, and others, though she wrote about much of world cinema. She was especially important in promoting filmmakers such as Naruse, starting in Australia but elsewhere as well. I only met her a couple of times, but she was a kind and generous person.


This is from Adrian?s post on Facebook:

Very sad news of the passing of Freda Freiberg this morning (Friday 26 April) in Australia. She was (I believe) 90, and I?m told she was in health (and not in pain) almost to the last day. She was central to so many circles of vibrant film culture, so active in her involvements & engagements ? writing (she was a superb, clear writer, who proudly eschewed all jargon), teaching, networking (in the best sense), bringing people together ... She was a feisty soul who never stood for any bullshit; whenever the occasional ?honour? in the film field came my way, for instance, she would be the first to say to me: ?Don?t let it go to your head!? She was extremely loyal in her life-long friendships (such as with Ken Mogg, who also left us a while ago). She published in many places, in small magazines, bigger magazines, chapters in significant books (like the late ?80s DON?T SHOOT DARLING on Australian women?s cinema, which she co-edited), reviews in the Jewish newspapers, online in SENSES OF CINEMA, more recently in FILM ALERT 101 ... we were together on the editorial team of the short-lived film magazine BUFF, back in 1980, and that was when I first grasped how central her family, feminism, and religious values were to her very full, rich life. She wrote one of the first important publications in English on ?women in Mizoguchi?, and ? as I recorded just the other day in my BFI commentary for FLOATING CLOUDS ? she excitedly brought the ?news? about the discovery in the West of Naruse to the readers of FILMNEWS after a small retro at the Melbourne Film Festival. In fact, the filmed discussions I did with Freda (commissioned by Paul Willemen) for an earlier BFI Naruse box are about to be recycled on the new release, which is great. And there?s a special Film Studies Library (containing her lifetime?s worth of often rare materials, plus much of my book & magazine collection) named after her at Monash University! I am sure there will be many fond recollections of Freda, from many people, in the weeks and months to come.


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






















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From nornes at umich.edu  Sun Apr 28 23:18:12 2024
From: nornes at umich.edu (Markus Nornes)
Date: Mon, 29 Apr 2024 12:18:12 +0900
Subject: [KineJapan] Benshi Bonanza
Message-ID: <CANoSnpBNoiiQsPkzFF14AyFj4O5Xbapgw06rNDX4kJrd7bPPCQ@mail.gmail.com>

The other night Waseda/UCLA?s Yanai Initiative ended its US benshi tour
with a splendid evening of benshi performances at Waseda?. It was one of
the best evenings of benshi I?ve ever seen, starting with the fact that
they actually packed Okuma Kodo with about 1,200 people. (I think _someone_
needs to figure out Yanai?s trick. How do you get just a few of these
people to make the very short trek to shitamachi for the regular benshi
screenings?!)

The first film they did was Not Blood Relations, a 1916 film from Kobayashi
Sankai and directed by the actor and *shinpa *giant Inoue Masao. This is
most definitely not the Naruse film from 15 years later. It?s a great
example of *shinpa* filmmaking. Almost no intertitles. Straight on long
shot/long medium shots and close to one shot per scene editing. And
audiences probably had no idea how lucky they were to experience proper
kowairo benshi accompaniment. There were three benshi for this one, Kataoka
Ichiro, Yamashiro Hideyuki and Yamauchi Nanako (the tour itself featured
Omori Kumiko, but she fell ill and Nanako stepped in at the last minute
with a flawless sub). It was great.

The last film they did was also before the Pure Film Movement shift, but
kyugeki. The film was Matsunosuke?s Jiraiya. I have only seen this film on
a crappy video on a laptop. To see it on the big screen with a as fine a
copy as is extant, and with kowairo to boot, was a wonder to behold. Sure
the kabuki physical SFX were all the cheesier, but I have to say it gave a
sense for Matsunosuke?s onscreen presence. You could get a sense for why he
was so popular.

They presented one American comedy, Sweetie. It?s a Baby Peggie film, of
which there are few extant. Although she was wildly popular, she?s not my
favorite. But with a benshi, it was good fun.

It was much more fun to watch Straightforward Boy the Ozu comedy with
Tokkan Kozo. Ichiro?s setsumei was delightful with machine-gun dialogue.
These films were all presented with projected subtitles for the setsumei
(by Kerim, so they were really good). But only the first part of this film
got the subtitles. Ichiro?s banter was so relentless that whoever was
hitting the advance button on the PowerPoint got hopelessly lost and just
gave up. Can?t blame them. It was crazy and crazy fun. It was also a longer
version, which just added that much more pleasure to the mix.

Another film that was presented in a newly extended version was Ito
Daisuke?s *Blood Spattered Takadanobaba *(I prefer something like Mists of
Blood in Takanobaba, a far freakier rendition). First of all, I thought it
was cool watching this film a couple hundred meters from where the
historical battle took place. There?s even a sekihi commemorating it.
Second, Yamashiro?s setsumei was the best I?ve heard?and I think I?ve heard
everyone do this film. It was a bang-up performance. Really thrilling. And
third: Ota-san at the Toy Museum found a 9.5mm print with just a bit more
of the film, so now we?re up to 12 minutes of furious filmmaking. Damn,
that?s fine filmmaking! Makes Eisenstein?s editing look tame. The extra
minutes of film make a remarkable difference. I want to see it again. And
soon.

Finally, the other film they did was Oath of the Sword, the recently
discovered Japanese American film. This was also nice to see on a big
screen for its pictorial qualities. In his maesetsu, Ichiro threw out some
red meat for the film mania types: the substantial supporting role by Jack
(Yutaka) Abe. I?m fascinated by this film, which I see as a thorough mixing
of American and Japanese filmmaking.  It?s a 1914 film, which puts it at a
crucial moment in film history for both national cinemas. By 1914,
Hollywood had firmly established the tenants of silent era continuity
style, so films were quite self-contained thanks to new approaches to
narrative construction which included the careful use of intertitles. Oath
of the Sword makes little to no use of these innovations.

The film has the feel of an American film, particularly the comedic moments
on campus, which feel uncannily like Lloyd?s The Freshman, which comes out
nearly a decade later. Importantly, the acting is quite natural (for the
day?in America) and the female roles were all played by women.

On the other hand, the photography?mostly long shot, long take and static,
if lovely?hewed to Japanese cinematic conventions of the time. Additionally,
there are almost no intertitles and the story is straight out of *shinpa*
and older oral storytelling traditions in Japan. It even has a climactic
suicide overtly telegraphed by the title, if you?re used to Japanese
stories. (I suspect someone that knows that territory could tell us
specific narratives it was drawing on.) I initially saw this online and
could only get the larger narrative arc (and had writings by Denice Khor to
help). In other words, this is a cinematic narration dependent on the
supplement provided by benshi. So, naturally, the full-blown narrative spun
by film/benshi was a very different experience. I think it?s clear this
film?s conception was predicated on the existence of a benshi in the room.

It?s all very fascinating. But I have to say I was taken aback by the
reaction of the audience. Now it could be that Ichiro elicited this by a
comment in his maesetsu about a surprising reaction in America (one of the
themes of the day in a pre-event talk show). He noted that Americans
laughed at much of the film. They did at Okuma Kodo as well. Some scenes
were built for it, like the gym scenes. But others were more of a camp
response. It was strange. He ought to show it again in Japan and avoid any
mention of the American response and see what happens. I?d be curious. I
suspect it would demonstrate the power of the maesetsu.

Finally, I have to mention the catalog. Book actually. There are a set of
great essays on benshi history and coming at it from all sorts of angles:
theater construction, imperialism, diaspora, stardom, music, the transition
to sound. This is to say the initial editorial shaping by Daisuke Miyao and
Michael Emmerich is incredibly smart. But, I have to say, even better is
the design by Shibata Kotaro and Ichiro. I don?t know about Shibata-san,
but Ichiro is a serious historian and just as serious collector. This book
has what feels like hundreds of astounding images of theaters, people,
films, and archival materials. It?s incredible. A very important book
that?s surely fated to go out of print fast. Get one while they?re still on
sale!  https://yanai-initiative.ucla.edu/publication/the-world-of-the-benshi

I am so jealous I couldn?t experience the whole slate of films back in the
US. But then here in Japan there are so many opportunities. Indeed, for
those in or coming to Japan on May 31, the Shinjuku Higashi-guchi Film
Festival (yes, there is one) has an entire day of films with benshi?11 of
them to be precise!  Details at www.matsudafilm.com

Markus
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From nornes at umich.edu  Mon Apr 29 02:31:08 2024
From: nornes at umich.edu (Markus Nornes)
Date: Mon, 29 Apr 2024 15:31:08 +0900
Subject: [KineJapan] National Center for Art Research
Message-ID: <CANoSnpCEnySiP-JvD-ZZym9E3aEaG0dKK165tWpA6a76ftWCwA@mail.gmail.com>

I just met someone from this outfit and she directed me to this excellent,
ever-evolving, resource:

https://artplatform.go.jp/readings/newly

Lots of translations, info on art from all angles, etc. etc. Definitely
worth checking out, especially the translation project which has a wide
variety of essays and in excellent translation.

I am going to start using their style guide for the translation project.
Anyone doing translation in the arts should find this really handy. There's
a link on the page above.

Markus

PS: When I told the staff member I met that, looking at their website it
appears film isn't "art", she said, "Well, you guys have a national film
archive.
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From unkleque at yahoo.com.au  Mon Apr 29 02:43:44 2024
From: unkleque at yahoo.com.au (quentin turnour)
Date: Mon, 29 Apr 2024 06:43:44 +0000 (UTC)
Subject: [KineJapan] Benshi Bonanza
In-Reply-To: <CANoSnpBNoiiQsPkzFF14AyFj4O5Xbapgw06rNDX4kJrd7bPPCQ@mail.gmail.com>
References: <CANoSnpBNoiiQsPkzFF14AyFj4O5Xbapgw06rNDX4kJrd7bPPCQ@mail.gmail.com>
Message-ID: <532974295.4868734.1714373024136@mail.yahoo.com>

Thanks so much for the report Marcus,
... A quick alert to anyone here connected with the book recommended: I'm outside the US and trying to buy. I've emailed the address? Transact Campus

| 
| 
|  | 
Transact Campus


 |

 |

 |

at to ask to arrange international purchase some weeks back but have heard nothing back. Anyone else having that issue?? It would be nice if some means of e-commerce access to purchase could be sent up for us poor ex-North-Americans. Especially if it is going to sell out.
Or an e-book alternative perhaps?
Quentin TurnourNational Archives of Australia.



    On Monday, 29 April 2024 at 01:34:25 pm AEST, Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 The other night Waseda/UCLA?s Yanai Initiative ended its US benshi tour with a splendid evening of benshi performances at Waseda?. It was one of the best evenings of benshi I?ve?ever seen, starting with the fact that they actually packed Okuma Kodo with about 1,200 people. (I think _someone_ needs to figure out Yanai?s trick. How do you get just a few of these people to make the very short trek to shitamachi for the regular benshi screenings?!)?
The first film they did was Not Blood Relations, a 1916 film from Kobayashi Sankai and directed by the actor and shinpa giant?Inoue Masao. This is most definitely not the Naruse film from 15 years later. It?s a great example of shinpa?filmmaking. Almost no intertitles. Straight on long shot/long medium shots and close to one shot per scene editing. And audiences probably had no idea how lucky they were to experience proper kowairo benshi accompaniment. There were three benshi for this one, Kataoka Ichiro, Yamashiro Hideyuki and Yamauchi Nanako (the tour itself featured Omori Kumiko, but she fell ill and Nanako stepped in at the last minute with a flawless sub). It was great.?
The last film they did was also before the Pure Film Movement shift, but kyugeki. The film was Matsunosuke?s Jiraiya. I have only seen this film on a crappy video on a laptop. To see it on the big screen with a as fine a copy as is extant, and with kowairo to boot, was a wonder to behold. Sure the kabuki physical SFX were all the cheesier, but I have to say it gave a sense for Matsunosuke?s onscreen presence. You could get a sense for why he was so popular.?
They presented one American comedy, Sweetie. It?s a Baby Peggie film, of which there are few extant. Although she was wildly popular, she?s not my favorite. But with a benshi, it was good fun.?
It was much more fun to watch Straightforward Boy the Ozu comedy with Tokkan Kozo. Ichiro?s setsumei was delightful with machine-gun dialogue. These films were all presented with projected subtitles for the setsumei (by Kerim, so they were really good). But only the first part of this film got the subtitles. Ichiro?s banter was so relentless that whoever was hitting the advance button on the PowerPoint got hopelessly lost and just gave up. Can?t blame them. It was crazy and crazy fun. It was also a longer version, which just added that much more pleasure to the mix.
Another film that was presented in a newly extended version was Ito Daisuke?s Blood Spattered Takadanobaba (I prefer something like Mists of Blood in Takanobaba, a far freakier rendition). First of all, I thought it was cool watching this film a couple hundred meters from where the historical battle took place. There?s even a sekihi commemorating it. Second, Yamashiro?s setsumei was the best I?ve heard?and I think I?ve heard everyone do this film. It was a bang-up performance. Really thrilling. And third: Ota-san at the Toy Museum found a 9.5mm print with just a bit more of the film, so now we?re up to 12 minutes of furious filmmaking. Damn, that?s fine filmmaking! Makes Eisenstein?s editing look tame. The extra minutes of film make a remarkable difference. I want to see it again. And soon.?
Finally, the other film they did was Oath of the Sword, the recently discovered Japanese American film. This was also nice to see on a big screen for its pictorial qualities. In his maesetsu, Ichiro threw out some red meat for the film mania types: the substantial supporting role by Jack (Yutaka) Abe. I?m fascinated by this film, which I see as a thorough mixing of American and Japanese filmmaking.? It?s a 1914 film, which puts it at a crucial moment in film history for both national cinemas. By 1914, Hollywood had firmly established the tenants of silent era continuity style, so films were quite self-contained thanks to new approaches to narrative construction which included the careful use of intertitles. Oath of the Sword makes little to no use of these innovations.?
The film has the feel of an American film, particularly the comedic moments on campus, which feel uncannily like Lloyd?s The Freshman, which comes out nearly a decade later. Importantly, the acting is quite natural (for the day?in America) and the female roles were all played by women.?
On the other hand, the photography?mostly long shot, long take and static, if lovely?hewed to Japanese cinematic conventions of the time.?Additionally, there are almost no intertitles and the story is straight out of shinpa and older oral storytelling traditions in Japan. It even has a climactic suicide overtly telegraphed by the title, if you?re used to Japanese stories. (I suspect someone that knows that territory could tell us specific narratives it was drawing on.) I initially saw this online and could only get the larger narrative arc (and had writings by Denice Khor to help). In other words, this is a cinematic narration dependent on the supplement provided by benshi. So, naturally, the full-blown narrative spun by film/benshi was a very different experience. I think it?s clear this film?s conception was predicated on the existence of a benshi in the room.?
It?s all very fascinating. But I have to say I was taken aback by the reaction of the audience. Now it could be that Ichiro elicited this by a comment in his maesetsu about a surprising reaction in America (one of the themes of the day in a pre-event talk show). He noted that Americans laughed at much of the film. They did at Okuma Kodo as well. Some scenes were built for it, like the gym scenes. But others were more of a camp response. It was strange. He ought to show it again in Japan and avoid any mention of the American response and see what happens. I?d be curious. I suspect it would demonstrate the power of the maesetsu.?
Finally, I have to mention the catalog. Book actually. There are a set of great essays on benshi history and coming at it from all sorts of angles: theater construction, imperialism, diaspora, stardom, music, the transition to sound. This is to say the initial editorial shaping by Daisuke Miyao and Michael Emmerich is incredibly smart. But, I have to say, even better is the design by Shibata Kotaro and Ichiro. I don?t know about Shibata-san, but Ichiro is a serious historian and just as serious collector. This book has what feels like hundreds of astounding images of theaters, people, films, and archival materials. It?s incredible. A very important book that?s surely fated to go out of print fast. Get one while they?re still on sale! ?https://yanai-initiative.ucla.edu/publication/the-world-of-the-benshi
I am so jealous I couldn?t experience the whole slate of films back in the US. But then here in Japan there are so many opportunities. Indeed, for those in or coming to Japan on May 31, the Shinjuku Higashi-guchi Film Festival (yes, there is one) has an entire day of films with benshi?11 of them to be precise!? Details at www.matsudafilm.com
Markus_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
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From macyroger at yahoo.co.uk  Mon Apr 29 02:59:00 2024
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Mon, 29 Apr 2024 06:59:00 +0000 (UTC)
Subject: [KineJapan] Benshi Bonanza
In-Reply-To: <532974295.4868734.1714373024136@mail.yahoo.com>
References: <CANoSnpBNoiiQsPkzFF14AyFj4O5Xbapgw06rNDX4kJrd7bPPCQ@mail.gmail.com>
 <532974295.4868734.1714373024136@mail.yahoo.com>
Message-ID: <680839745.7692048.1714373940238@mail.yahoo.com>

 Same here, Quentin. So I've just ordered it to go to relative in the US now Markus has started a run on it ;>) R.
    On Monday, 29 April 2024 at 08:43:56 CEST, quentin turnour via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Thanks so much for the report Marcus,
... A quick alert to anyone here connected with the book recommended: I'm outside the US and trying to buy. I've emailed the address? Transact Campus

| 
| 
|  | 
Transact Campus


 |

 |

 |

at to ask to arrange international purchase some weeks back but have heard nothing back. Anyone else having that issue?? It would be nice if some means of e-commerce access to purchase could be sent up for us poor ex-North-Americans. Especially if it is going to sell out.
Or an e-book alternative perhaps?
Quentin TurnourNational Archives of Australia.



    On Monday, 29 April 2024 at 01:34:25 pm AEST, Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 The other night Waseda/UCLA?s Yanai Initiative ended its US benshi tour with a splendid evening of benshi performances at Waseda?. It was one of the best evenings of benshi I?ve?ever seen, starting with the fact that they actually packed Okuma Kodo with about 1,200 people. (I think _someone_ needs to figure out Yanai?s trick. How do you get just a few of these people to make the very short trek to shitamachi for the regular benshi screenings?!)?
The first film they did was Not Blood Relations, a 1916 film from Kobayashi Sankai and directed by the actor and shinpa giant?Inoue Masao. This is most definitely not the Naruse film from 15 years later. It?s a great example of shinpa?filmmaking. Almost no intertitles. Straight on long shot/long medium shots and close to one shot per scene editing. And audiences probably had no idea how lucky they were to experience proper kowairo benshi accompaniment. There were three benshi for this one, Kataoka Ichiro, Yamashiro Hideyuki and Yamauchi Nanako (the tour itself featured Omori Kumiko, but she fell ill and Nanako stepped in at the last minute with a flawless sub). It was great.?
The last film they did was also before the Pure Film Movement shift, but kyugeki. The film was Matsunosuke?s Jiraiya. I have only seen this film on a crappy video on a laptop. To see it on the big screen with a as fine a copy as is extant, and with kowairo to boot, was a wonder to behold. Sure the kabuki physical SFX were all the cheesier, but I have to say it gave a sense for Matsunosuke?s onscreen presence. You could get a sense for why he was so popular.?
They presented one American comedy, Sweetie. It?s a Baby Peggie film, of which there are few extant. Although she was wildly popular, she?s not my favorite. But with a benshi, it was good fun.?
It was much more fun to watch Straightforward Boy the Ozu comedy with Tokkan Kozo. Ichiro?s setsumei was delightful with machine-gun dialogue. These films were all presented with projected subtitles for the setsumei (by Kerim, so they were really good). But only the first part of this film got the subtitles. Ichiro?s banter was so relentless that whoever was hitting the advance button on the PowerPoint got hopelessly lost and just gave up. Can?t blame them. It was crazy and crazy fun. It was also a longer version, which just added that much more pleasure to the mix.
Another film that was presented in a newly extended version was Ito Daisuke?s Blood Spattered Takadanobaba (I prefer something like Mists of Blood in Takanobaba, a far freakier rendition). First of all, I thought it was cool watching this film a couple hundred meters from where the historical battle took place. There?s even a sekihi commemorating it. Second, Yamashiro?s setsumei was the best I?ve heard?and I think I?ve heard everyone do this film. It was a bang-up performance. Really thrilling. And third: Ota-san at the Toy Museum found a 9.5mm print with just a bit more of the film, so now we?re up to 12 minutes of furious filmmaking. Damn, that?s fine filmmaking! Makes Eisenstein?s editing look tame. The extra minutes of film make a remarkable difference. I want to see it again. And soon.?
Finally, the other film they did was Oath of the Sword, the recently discovered Japanese American film. This was also nice to see on a big screen for its pictorial qualities. In his maesetsu, Ichiro threw out some red meat for the film mania types: the substantial supporting role by Jack (Yutaka) Abe. I?m fascinated by this film, which I see as a thorough mixing of American and Japanese filmmaking.? It?s a 1914 film, which puts it at a crucial moment in film history for both national cinemas. By 1914, Hollywood had firmly established the tenants of silent era continuity style, so films were quite self-contained thanks to new approaches to narrative construction which included the careful use of intertitles. Oath of the Sword makes little to no use of these innovations.?
The film has the feel of an American film, particularly the comedic moments on campus, which feel uncannily like Lloyd?s The Freshman, which comes out nearly a decade later. Importantly, the acting is quite natural (for the day?in America) and the female roles were all played by women.?
On the other hand, the photography?mostly long shot, long take and static, if lovely?hewed to Japanese cinematic conventions of the time.?Additionally, there are almost no intertitles and the story is straight out of shinpa and older oral storytelling traditions in Japan. It even has a climactic suicide overtly telegraphed by the title, if you?re used to Japanese stories. (I suspect someone that knows that territory could tell us specific narratives it was drawing on.) I initially saw this online and could only get the larger narrative arc (and had writings by Denice Khor to help). In other words, this is a cinematic narration dependent on the supplement provided by benshi. So, naturally, the full-blown narrative spun by film/benshi was a very different experience. I think it?s clear this film?s conception was predicated on the existence of a benshi in the room.?
It?s all very fascinating. But I have to say I was taken aback by the reaction of the audience. Now it could be that Ichiro elicited this by a comment in his maesetsu about a surprising reaction in America (one of the themes of the day in a pre-event talk show). He noted that Americans laughed at much of the film. They did at Okuma Kodo as well. Some scenes were built for it, like the gym scenes. But others were more of a camp response. It was strange. He ought to show it again in Japan and avoid any mention of the American response and see what happens. I?d be curious. I suspect it would demonstrate the power of the maesetsu.?
Finally, I have to mention the catalog. Book actually. There are a set of great essays on benshi history and coming at it from all sorts of angles: theater construction, imperialism, diaspora, stardom, music, the transition to sound. This is to say the initial editorial shaping by Daisuke Miyao and Michael Emmerich is incredibly smart. But, I have to say, even better is the design by Shibata Kotaro and Ichiro. I don?t know about Shibata-san, but Ichiro is a serious historian and just as serious collector. This book has what feels like hundreds of astounding images of theaters, people, films, and archival materials. It?s incredible. A very important book that?s surely fated to go out of print fast. Get one while they?re still on sale! ?https://yanai-initiative.ucla.edu/publication/the-world-of-the-benshi
I am so jealous I couldn?t experience the whole slate of films back in the US. But then here in Japan there are so many opportunities. Indeed, for those in or coming to Japan on May 31, the Shinjuku Higashi-guchi Film Festival (yes, there is one) has an entire day of films with benshi?11 of them to be precise!? Details at www.matsudafilm.com
Markus_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
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From nornes at umich.edu  Mon Apr 29 03:44:38 2024
From: nornes at umich.edu (Markus Nornes)
Date: Mon, 29 Apr 2024 16:44:38 +0900
Subject: [KineJapan] Benshi Bonanza
In-Reply-To: <680839745.7692048.1714373940238@mail.yahoo.com>
References: <CANoSnpBNoiiQsPkzFF14AyFj4O5Xbapgw06rNDX4kJrd7bPPCQ@mail.gmail.com>
 <532974295.4868734.1714373024136@mail.yahoo.com>
 <680839745.7692048.1714373940238@mail.yahoo.com>
Message-ID: <CANoSnpDbZD_96OUYa-nReOMky7D+AXy1xGo+Tga+UABF=aMpqw@mail.gmail.com>

Quick followup.

Back in grad school, I toyed with the possibility of going into archive
work and film restoration. My professor for silent cinema at USC was David
Shepard, and he graciously gave me a tutorial on the subject. I spent a lot
of time at his lab/office/"archive," which was filled to the gills with all
sorts of cool stuff. I vividly recall his teaching me how to read the film
codes at the edges of prints with a small loupe. As an aside, he said, "You
know, I got that from Flaherty. He cut Aran with that." Whoa. Anyway, as
part of the independent study I was to attempt to work on a film. I found
the unrestored, nitrate print of a Japanese film at the UCLA archive.
Confirmed that the National Film Archive of Japan didn't have it. And UCLA
let me extract the print to attempt a restoration. Thing is, it's expensive
and try as I might I couldn't find any support for doing it. In the end, I
returned the print to UCLA. And the Film Center was happy to learn of its
existence. That was *Sanji Goto,* and I noticed the Yanai Initiative
included it in their program. I wonder if it's the UCLA print????

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/
<http://www-personal.umich.edu/~nornes/>*
*Department of Film, Television and Media*
*6348 North Quad*
*105 S. State Street**Ann Arbor, MI 48109-1285*
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From unkleque at yahoo.com.au  Mon Apr 29 04:40:05 2024
From: unkleque at yahoo.com.au (quentin turnour)
Date: Mon, 29 Apr 2024 08:40:05 +0000 (UTC)
Subject: [KineJapan] Benshi Bonanza
In-Reply-To: <CANoSnpDbZD_96OUYa-nReOMky7D+AXy1xGo+Tga+UABF=aMpqw@mail.gmail.com>
References: <CANoSnpBNoiiQsPkzFF14AyFj4O5Xbapgw06rNDX4kJrd7bPPCQ@mail.gmail.com>
 <532974295.4868734.1714373024136@mail.yahoo.com>
 <680839745.7692048.1714373940238@mail.yahoo.com>
 <CANoSnpDbZD_96OUYa-nReOMky7D+AXy1xGo+Tga+UABF=aMpqw@mail.gmail.com>
Message-ID: <768632687.4885578.1714380005554@mail.yahoo.com>

 Wonderful tale!
Just checked the UCLA Film and TV Archives's page on the LA Benshi-o-rama screenings here: Off-site: A Page of Madness + short films | UCLA Film & Television Archive. They list the source as a NFAJ DCP. 


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Off-site: A Page of Madness + short films | UCLA Film & Television Archive


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UCLA Film and TV Archive catalogue makes no mention of the film, nor of any Japanese silents, which means they shipped it to the NFC. Still a little odd though. Repatriation of these sort of things amongst FIAF member archives has long been standard, especially as the fate of many Japanese pre-Pacific War films to end up in Russian, US, or German archives has been discussed in this listserv before. But the deal is normally that the finder archive gets a copy, if they are FIAF. It's just that most don't follow-up. 

AV archiving now has little romance. If I've got it right and you once walked out of the UCLA vault with a nitrate print that probably wouldn't happen now - and is illegal in most jurisdictions. Even if your name is David Shepherd. Most AV archivists will tell you - and a little time spent over at the AMIA listserve will confirm - that most of their work these days is with digits. Entering metadata, moving big data around (and fighting with IT guys about it), scanning media in, out and about. 

I just signed off on the restoration of an early Peter Weir co-directed feature, and barely saw the original film in the workflow. Been a long time since I had my loupe out; set to macro, the camera on my mobile gets more detail.

Video preservation is maybe a bigger headache than film, and actually sometimes more exciting (especially if you are a millennial) - a point I'm making conscious of the fact that the state of Japanese analogue video preservation should be more of a topic than it is. Even Kodak film (as it still exists now) has computer-readable only edge codes. 

Quentin Turnour.,National Archives of Australia



    On Monday, 29 April 2024 at 05:45:03 pm AEST, Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Quick followup.?
Back in grad school, I toyed with the possibility of going into archive work and film restoration. My professor for silent cinema at USC was David Shepard, and he graciously gave me a tutorial on the subject. I spent a lot of time at his lab/office/"archive," which was filled to the gills with all sorts of cool stuff. I vividly recall his teaching me how to read the film codes at the edges of prints with a small loupe. As an aside, he said, "You know, I got that from Flaherty. He cut Aran with that." Whoa. Anyway, as part of the independent study I was to attempt to work on a film. I found the unrestored, nitrate print of a Japanese film at the UCLA archive. Confirmed that the National Film Archive of Japan didn't have it. And UCLA let me extract the print to attempt a restoration. Thing is, it's expensive and try as I might I couldn't find any support for doing it. In the end, I returned the print to UCLA. And the Film Center was happy to learn of its existence. That was Sanji Goto,?and I noticed the Yanai Initiative included it in their program. I wonder if it's the UCLA print????
Markus



---?
Markus NornesProfessor 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
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From amanda.weiss at modlangs.gatech.edu  Mon Apr 29 08:14:34 2024
From: amanda.weiss at modlangs.gatech.edu (Weiss, Amanda)
Date: Mon, 29 Apr 2024 12:14:34 +0000
Subject: [KineJapan] New Japanese MS in Applied Languages and Intercultural
 Studies
Message-ID: <DM6PR07MB6283FFA2ABF1E032A39237D9D01B2@DM6PR07MB6283.namprd07.prod.outlook.com>

Dear Colleagues,

I am writing to pass along the information that Georgia Tech?s School of Modern Languages has a new master?s program in Japanese. Because this program is new, our application deadline for Fall 2024 matriculation has been extended to May 31st, 2024 (for the Japanese concentration only). Please pass along if you have any students who might be interested in the program. Thank you!

Best,
Amanda

Program Description:

The Master of Science in Applied Languages and Intercultural Studies (M.S. ALIS) is one of the first professional master?s degrees in foreign language and cultural studies in the United States with concentrations in French, German, Spanish, and Japanese. It emphasizes real-world professional applications of language for a wide range of career paths, from communications and non-profit to business, engineering, and medicine. The degree can be completed in one year with only 30 credit hours.
In addition to rigorous training in advanced-level language and cross-cultural communication, students can study abroad, conduct research, and complete for-credit internships. Students graduate with a professional portfolio in the language of concentration, positioning them to pursue a range of internationally oriented career paths.
As the Japanese language concentration is a new program, the application deadline for Japanese has been extended to May 31, 2024. There is no GRE required. Please check out the website here for more information on the program and instructions on how to apply: https://modlangs.gatech.edu/graduate/ms-alis
Questions? Please contact Amanda Weiss at amanda.weiss at modlangs.gatech.edu<mailto:amanda.weiss at modlangs.gatech.edu> for more info.

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From dmiyao at ucsd.edu  Mon Apr 29 14:29:38 2024
From: dmiyao at ucsd.edu (Miyao, Daisuke)
Date: Mon, 29 Apr 2024 18:29:38 +0000
Subject: [KineJapan] Benshi Bonanza
In-Reply-To: <CANoSnpDbZD_96OUYa-nReOMky7D+AXy1xGo+Tga+UABF=aMpqw@mail.gmail.com>
References: <CANoSnpBNoiiQsPkzFF14AyFj4O5Xbapgw06rNDX4kJrd7bPPCQ@mail.gmail.com>
 <532974295.4868734.1714373024136@mail.yahoo.com>
 <680839745.7692048.1714373940238@mail.yahoo.com>
 <CANoSnpDbZD_96OUYa-nReOMky7D+AXy1xGo+Tga+UABF=aMpqw@mail.gmail.com>
Message-ID: <BY5PR04MB7059F09ABF8E12D674DB0E10B61B2@BY5PR04MB7059.namprd04.prod.outlook.com>

Dear Markus and all,

Thank you for your fantastic report! I wish I had been there, too!

I attended the event at both the United Theater in Downtown Los Angeles and the UCLA Film Archive. It was truly a spectacular experience! All the screened prints were crisp and superb, and with the energetic and nuanced benshi performance, I felt like watching A Page of Madness and Orochi, among others, for the first time!

I agree with you, Markus ? the real treasure of the catalog is the astounding images of theaters, people, films, and archival materials. The hope that Michael and I had was that the readers of the catalog could feel like "experiencing" the world of the benshi in those periods!

The print of Sanji Goto, which was screened this time, is from the National Film Archive.

https://www.nfaj.go.jp/event/??/

Best,
Daisuke

Daisuke Miyao
Professor and Hajime Mori Chair in Japanese Language and Literature
Director of Film Studies
University of California, San Diego


________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Markus Nornes via KineJapan <kinejapan at mailman.yale.edu>
Sent: Monday, April 29, 2024 12:44 AM
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Cc: Markus Nornes <nornes at umich.edu>
Subject: Re: [KineJapan] Benshi Bonanza

Quick followup.

Back in grad school, I toyed with the possibility of going into archive work and film restoration. My professor for silent cinema at USC was David Shepard, and he graciously gave me a tutorial on the subject. I spent a lot of time at his lab/office/"archive," which was filled to the gills with all sorts of cool stuff. I vividly recall his teaching me how to read the film codes at the edges of prints with a small loupe. As an aside, he said, "You know, I got that from Flaherty. He cut Aran with that." Whoa. Anyway, as part of the independent study I was to attempt to work on a film. I found the unrestored, nitrate print of a Japanese film at the UCLA archive. Confirmed that the National Film Archive of Japan didn't have it. And UCLA let me extract the print to attempt a restoration. Thing is, it's expensive and try as I might I couldn't find any support for doing it. In the end, I returned the print to UCLA. And the Film Center was happy to learn of its existence. That was Sanji Goto, and I noticed the Yanai Initiative included it in their program. I wonder if it's the UCLA print????

Markus




---
[https://ci3.googleusercontent.com/mail-sig/AIorK4wpadRRhHYSz0N5UbUflm2YEIclCcg0bTCCBEh81fkJ8isCMwomHpMoky49pEF7xzc4MTMR-PM]
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/<https://urldefense.com/v3/__http://www-personal.umich.edu/*nornes/__;fg!!Mih3wA!GHmaLtXVUl-fw2BtfM5LTVXbjFF6bKL4ey7Eb-5PSBKUl5zd18-h6V-UQYaeX_7cazUe5x8Gruq0D-lxH01l49t5Eg$>
Department of Film, Television and Media
6348 North Quad
105 S. State Street
Ann Arbor, MI 48109-1285


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From aaron.gerow at yale.edu  Mon Apr 29 21:47:29 2024
From: aaron.gerow at yale.edu (Aaron Gerow)
Date: Mon, 29 Apr 2024 21:47:29 -0400
Subject: [KineJapan] House for rent in Yokohama
Message-ID: <383883C0-9F1C-4372-964D-622914C8E1F3@yale.edu>

I?ve been so busy with other things I forgot to spread the news that my house in Yokohama will be available for rent from mid-August 2025 to May 2025. 

The description of the property is visible here:

https://www.sabbaticalhomes.com/rental/52673

Feel free to write if you have any questions.

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






















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