From unkleque at yahoo.com.au  Sat Jun  1 22:42:15 2024
From: unkleque at yahoo.com.au (quentin turnour)
Date: Sun, 2 Jun 2024 02:42:15 +0000 (UTC)
Subject: [KineJapan] Beka & Lemoine's Moriyama-san / Wender's Perfect Days?
References: <867988575.763749.1717296135362.ref@mail.yahoo.com>
Message-ID: <867988575.763749.1717296135362@mail.yahoo.com>

Anyone know if the Japanese press have picked up on the minor rumble going on in the modern architecture press about shot-for-shot similarities between architectural documentary specialists Ila Beka & Louise Lemoine's 2016 short documentary MORIYAMA-SAN, and Wender's PERFECT DAYS?
The irony here is that neither party is Japanese. And some of the commentary is a little obtuse: is it Wender's homage or theft? And maybe words are being selected carefully. But that Beka and Lemoine may have an opinion might be suggested by an invite I just got for 48 hour free access to MORIYAMA-SAN via the ArchDaily website: Almost Perfect Days: Hirayama and Moriyama, a Double Vision of Architecture. Some of you might also have seen this. 

Quentin TurnourNational Archives of Australia.



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Almost Perfect Days: Hirayama and Moriyama, a Double Vision of Architecture

Delve into the world of architectural documentaries with Wim Wenders and the innovative approach of Ila B?ka & L...
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From macyroger at yahoo.co.uk  Sun Jun  2 17:50:56 2024
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Sun, 2 Jun 2024 21:50:56 +0000 (UTC)
Subject: [KineJapan] Beka & Lemoine's Moriyama-san / Wender's Perfect
 Days?
In-Reply-To: <867988575.763749.1717296135362@mail.yahoo.com>
References: <867988575.763749.1717296135362.ref@mail.yahoo.com>
 <867988575.763749.1717296135362@mail.yahoo.com>
Message-ID: <849890360.1377257.1717365056348@mail.yahoo.com>

 
Thanks for this, Quentin.

Moriyama-san is an interesting watch and Moriyama-san himself hasa beautiful home and lifestyle.

The visual similarities are striking and I can?t see how Wenders, cinematographerLustig or indeed Yakusho could have created the likenesses without carefullylooking at this film, even though Wenders? Hirayama lives in a far moreproletarian locality and residence. (In contrast, Moriyama clearly hasinherited wealth and apparently no need to work at all.)

Perfect Days did get a cinema screening here at Nippon Connectionbut no screener link is available. However, it turns out that Perfect Daysis on VoD here through Amazon.de, even though not yet in the UK.There is a brief page in the end credits for ?special thanks? but it does notinclude Moriyama-san, B?ka,or Lemoine. I saw no acknowledgement.

Roger

?


    On Sunday, 2 June 2024 at 04:42:31 CEST, quentin turnour via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Anyone know if the Japanese press have picked up on the minor rumble going on in the modern architecture press about shot-for-shot similarities between architectural documentary specialists Ila Beka & Louise Lemoine's 2016 short documentary MORIYAMA-SAN, and Wender's PERFECT DAYS?
The irony here is that neither party is Japanese. And some of the commentary is a little obtuse: is it Wender's homage or theft? And maybe words are being selected carefully. But that Beka and Lemoine may have an opinion might be suggested by an invite I just got for 48 hour free access to MORIYAMA-SAN via the ArchDaily website: Almost Perfect Days: Hirayama and Moriyama, a Double Vision of Architecture. Some of you might also have seen this. 

Quentin TurnourNational Archives of Australia.



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Almost Perfect Days: Hirayama and Moriyama, a Double Vision of Architecture

Delve into the world of architectural documentaries with Wim Wenders and the innovative approach of Ila B?ka & L...
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From aaron.gerow at yale.edu  Wed Jun  5 23:08:07 2024
From: aaron.gerow at yale.edu (Aaron Gerow)
Date: Thu, 6 Jun 2024 12:08:07 +0900
Subject: [KineJapan] Airport ride and Peak ride
Message-ID: <EE1971A6-861D-434A-A4B9-C0D37E73CD32@yale.edu>

I am certainly not alone in being excited to attend Kinema Club XXII next week. Many thanks to the organizers!

First, I wanted to mention that the schedule has been uploaded to the KC website:

https://kinemaclub.org/events/kinema-club-xxii

In a couple of personal queries, I first wanted to ask if anyone wants to share a ride from the airport. I?ll be arriving at the Manchester airport at 18:50 on June 10. If anyone is arriving around the same time and wants to share a car to Sheffield, let me know.

Second, in a non-film-related query, I was wondering if anyone wants to go bicycling. I?ve long wanted to do some cycling in the Peak District just to the west of Sheffield and am arriving a bit early so I could possibly head out on the 11th. Jen has provided a lot of information, but there are lots of options and a number of places that rent bikes (and helmets, etc.). With jet lag and all, I don?t plan anything that long or strenuous (probably only about 15 or so miles). Right now, the weather is forecast to be partly sunny with a high of 14C, so it might be a bit chilly. Let me know if you are interested. Depending on the place and route, reservations may be necessary.

https://www.peakdistrict.gov.uk/


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 ajh2187 at columbia.edu  Wed Jun 12 18:30:16 2024
From: ajh2187 at columbia.edu (Nina Horisaki-Christens)
Date: Wed, 12 Jun 2024 15:30:16 -0700
Subject: [KineJapan] "Community of Images" Opening Fri June 14 in
 Philadelphia!
Message-ID: <CA+NERH2RnRvJ23PMpMAOxGEEBtVrdZGNfFba8YtNsWJwXGFLTA@mail.gmail.com>

Dear KineJapan Forum,


I wanted to draw your attention to an exciting exhibition at the
intersection of Japanese and American art and moving image experiments from
the 1960s and 1970s for which I've served as a curatorial consultant. Community
of Images: Japanese Moving Image Artists in the US, 1960s-1970s
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fwww.collabjapan.org-252Fcommunity-2Dof-2Dimages-253Futm-5Fsource-253DCCJ-252BGeneral-2526utm-5Fcampaign-253Df97707be90-2DEMAIL-5FCAMPAIGN-5F2024-5F06-5F06-5F06-5F08-2526utm-5Fmedium-253Demail-2526utm-5Fterm-253D0-5F-2Df97707be90-2D-25255BLIST-5FEMAIL-5FID-25255D-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953117720-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3DOtJFVNXbR1r-252BUl-252FfsJWtb6kXr4F1AraBdmJu-252BazlBjM-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=rHaPAwFuxtbxLuwjKD7Lrltdmg70UsYpZIjW_MjGMWo&e=>
 *(curated by Ann Adachi-Tasch, Julian Ross, and Go Hirasawa)* opens
this *Friday
(June 14)* in Philadelphia, and Collaborative Cataloguing Japan and its
partners have events planned both throughout the opening weekend
(Friday-Monday June 14-17) and across the summer. If you're in the
Philadelphia area, please stop by for this rare opportunity to see a number
of newly-restored multi-media works from the 1960s and 1970s! Further
details are at the end of this email.


On another note, I will send a further message from Ann Adachi-Tasch,
Executive Director of Collaborative Cataloguing Japan, regarding the
uncertainty about the exhibition hours and length shortly. Unfortunately,
University of the Arts ran our venue and served as a presentation partner
for this project, so their sudden closure on June 7 has forced CCJ to take
over the full financial and logistical responsibilities of running the
exhibition on a week's notice (for a project that has been in the works for
two years). I will forward her full note, which includes information on the
upcoming programming as well as fundraising for the unexpected costs. My
apologies in advance for a second email in quick succession.


Best regards,

Nina Horisaki-Christens


=====
Nina Horisaki-Christens
Postdoctoral Fellow
Getty Research Institute
ajh2187 at caa.columbia.edu

Ph.D., Department of Art History & Archaeology
and Institute of Comparative Literature & Society
Columbia University

pronouns: she/her


[image: unnamed (1).png]

*Community of Images: Japanese Moving Image Artists in the US, 1960s-1970s *is
an exhibition that explores experimental moving images created by Japanese
artists and their connections to North America. Covering a wide range of
practices and themes?including *avant-garde film*, *performance, design*
 and *healing*, *ecology*, *expanded cinema*, *independent documentary*,
*music*, *race*, *feminism*, *video art*, *community-based video*,
*technology* and *communication*, and others? the project features works
and activities that took place in Japan and in the U.S.



*Calling All Cinephiles*


For anyone interested in avant garde film of the ?60s and ?70s, this is an
opportunity to experience a fascinating confluence of influences, captured
by filmmakers at the cutting edge of culture and technology.



*Calling All Lovers of Japanese Culture*


Sometimes a culture is put into greatest relief when it is transported into
a new context. For these Japanese artists working in the United States,
their experience as outsiders allows an opportunity for a fresh look at
both America at that moment and the influence of their homeland on this
work. If you?re interested in Japanese culture ? and in the intersection of
two creative communities ? then this show will add a new layer to your
understanding.


*Calling All Activists*


A throughline of the work in Community of Images is the social upheaval of
the moment. This was an era of cataclysmic social and cultural change, with
an expansion of the civil rights movement, women?s liberation, and anti-war
protests, along with the birth of the Yellow Power movement. The artists
featured in this show were directly inspired by this wave of change ? and
the context of producing work as Japanese nationals in the U.S. shaped
their work.


There are profound parallels with our current moment, where movements such
as Black Lives Matter, post-Roe reproductive justice, and anti-war activism
are both dividing and catalyzing our society. What lessons can be learned
about the role of art and filmmaking in activism?


*Calling All Techies*


Not only were these artists at the forefront of a cultural and artistic
moment, they were also finding fresh ways to use technology. A new
generation of portable video cameras allowed the featured filmmakers to
capture moments, experiences, and protests with increasing intimacy. Before
we all had a video camera in our pockets, they had one slung over their
shoulder.


*Calling Anyone Looking to See Something Cool*


Whether you?re excited by mid-century fashion, intrigued by underground
music, or simply looking for a creative date-night activity, this
exhibition will show you something new. We?ll be sharing lots more
information in the coming months about why you should add Community of
Images to your social calendar.

To view the full list of artists included in this exhibition:
Full Artist List
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fwww.collabjapan.org-252Fcommunity-2Dof-2Dimages-2Dartists-2D1-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953273995-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3D9NHrs56vV-252F3Y0bmZYg7Tqf1UkV6b-252F-252FGTI3CiF-252B3YN-252BQ-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=gAtU09_IhdpCIG6ClcGKr45DouUsuYyPQHY1mHYtYAE&e=>

This project is co-presented by Collaborative Cataloging Japan and the Japan
America Society of Greater Philadelphia in partnership with Philadelphia
Art Alliance at University of the Arts. Major support has been provided by
The Pew Center for Arts & Heritage, with additional support from the Andy
Warhol Foundation, the Toshiba International Foundation, and the Pennsylvania
Council on the Arts.
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fwww.collabjapan.org-252Fcommunity-2Dof-2Dimages-2Dcollaborators-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953273995-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3DO2ztcGyj0rrzxN4KpqBP6Wr-252F6KGwZ5x3724nauuA6pU-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=Hxc5qtXtFxGs0nYwU6IrjGsiJD6FA7RY5QhjHJm9kFU&e=>
[image: Facebook icon]
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fwww.facebook.com-252FCollabCatalogJapan-252F-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953273995-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3D2x39BXCp0GIRFyvpnT-252F2-252B1TyhjFU-252F0K5mT6KNlURMy0-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=rSTlkxXhZI8SQ1i2l6bRmoHDgL8p8k_8CfQvNK6hH0g&e=>
[image:
Instagram icon]
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fwww.instagram.com-252Fcollabjapanfilm-252F-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953430203-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3DHZE75Fwjox-252BXGBDanj4QZ0JFxJzsEIhxW2JKsAlkltI-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=L4EW1ea77zlNSPszzSDXwfTTGxBQMEGOz37H-maRaPM&e=>
[image:
Twitter icon]
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Ftwitter.com-252FCollabJapanFilm-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953430203-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3DFbo2jZ1eBVMNC8xEit54pcDuL1CyeapBbF-252FzolUYFds-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=nIRYZr7qA73RbXu-Pzkhf8rukTdbqSp3-nw5E4dlwXU&e=>

*Copyright (C) 2024 Collaborative Cataloging Japan. All rights reserved.*
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From ajh2187 at caa.columbia.edu  Wed Jun 12 18:46:06 2024
From: ajh2187 at caa.columbia.edu (Nina Horisaki-Christens)
Date: Wed, 12 Jun 2024 15:46:06 -0700
Subject: [KineJapan] "Community of Images" Opening Fri June 14 in
 Philadelphia!
In-Reply-To: <CA+NERH2RnRvJ23PMpMAOxGEEBtVrdZGNfFba8YtNsWJwXGFLTA@mail.gmail.com>
References: <CA+NERH2RnRvJ23PMpMAOxGEEBtVrdZGNfFba8YtNsWJwXGFLTA@mail.gmail.com>
Message-ID: <CACnEkFeuLfmVOpxkGM_us9E11i6iNT0wi8-ir3Dnuq2YLzQtLg@mail.gmail.com>

Below is the message from Ann Adachi-Tasch, Executive Director of
Collaborative Cataloguing Japan!

Best,
Nina

===================================================================


We are excited that our exhibition, *Community of Images: Japanese Moving
Image Artists in the US, 1960s-1970s
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fwww.collabjapan.org-252Fcommunity-2Dof-2Dimages-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953117720-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3DDCm2NRGUMb1DgOvreQQlA4gcMJtNsnL14ZsmrdjYBGk-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=jHUSOmI18SgiB57MjfRI4qiWydnxA26bmM4m60yQOH8&e=>
*will
open after uncertainty last week. We are having to scramble to figure out
how to pay for Philadelphia Art Alliance's gallery operating costs (and we
are fundraising, listed on our site), but relieved that this large-budget
project will be presented in Philadelphia. It should be up (if we manage to
finance security, housekeeping, gallery attendant, etc.) through August 9.

In addition, we have very exciting programs
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fwww.collabjapan.org-252Fcommunity-2Dof-2Dimages-2Devents-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953117720-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3DzMfuL-252BG5q0pFxPgjuTmmnCaDSMIaWCyBBrydUOlgNv4-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=FQHLlibKPnWv32tp8y7BQKfmavqMY2Npg2QMwOwPrb4&e=>
lined
up, including a geodesic dome building project at Eakins Oval
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fwww.collabjapan.org-252Fevents-252F2024-252Figler-2Ddomedowe-2Disobe-2Dair-2Ddome-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953117720-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3D1IxlWOr0eoSvmjvLl4SpRGMaCYqsibWx0LrZV66m6hI-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=nabTqkCoEYxIf9bQZ-CqZN8APOgr6Q1i1ArXtVV7a00&e=>,
in homage to *Yukihisa Isobe's Air Dome*. This is scheduled around the
closing timing, and we have heard from Isobe that he may be able to come to
Philadelphia, a reunion since his time at University of Pennsylvania
studying under Ian McHarg. We are very excited for this project.

This opening weekend programs are also fantastic, with *Yasunao Tone,
Barbara London, Suzanne Delahanty, Nina-Horisaki Christens, Rebecca
Clemans, Shigeko Kubota Video Art Foundation, Julian Ross, Go Hirasawa, and
Peter X. Feng* in attendance. On Saturday, there will be a panel event to
discuss the legacy of Kubota's Video Talk Shows
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fwww.collabjapan.org-252Fevents-252F2024-252Fa-2Dtalk-2Don-2Dvideo-2Dtalk-2Dshow-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953117720-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3DzooaGImUgG1dWxMzirPp9iH4pkHmqroyh-252FgQuGySeqc-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=FAX5AbP-z-geI9vQ9I5rE6od5sSs1uTP_HxSP3EGns4&e=>
she
organized at the Anthology Film Archives. On Sunday there are two
screenings! On Monday, there is a symposium at the University of
Pennsylvania
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fwww.collabjapan.org-252Fevents-252F2024-252Fcomm-2Dimages-2Dsymposium-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953117720-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3DNhj8r2diEJ48XLsH5zjmo-252B1df89gJXFw0re8pmTWJF4-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=L8CGmFyHgBl78xpccgXYxiOhd2aGwgeGAc8TFDDebzc&e=>
.

For those with children, we have *children's workshops* on June 22 (diy
animation making)
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fwww.collabjapan.org-252Fevents-252F2024-252Fcomm-2Dimages-2Djune22-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953117720-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3D84OOxmgYmXhdWEAq7n5fifaeBywHuFzMndRb8oNI0dQ-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=37bz2b1DgJb3mKrvYuJ3Tyhnv73PHSrbUT5gIPpCeM0&e=>
and July 31-Aug 1 (Youth Media Workshop).
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fwww.collabjapan.org-252Fevents-252F2024-252Fcomm-2Dimages-2Dyouth-2Dmedia-2Dworkshop-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953273995-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3Dae6IrTRziPmHLTvZpgR7uvdhgoU32I53-252BqiOjpZfOQ8-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=QajGhSJ5c-ZxkztExex2uEQIXUEfv8ojjfsKSRjAt-c&e=>

Happy summer!

Ann

Ann Adachi-Tasch, Executive Director
ann_adachi at collabjapan.org
http://www.collabjapan.org/
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttp-253A-252F-252Fwww.collabjapan.org-252F-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953273995-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3Dzv9peSmAJiPIIhixB1kkTTLH6gvvU7-252B0jKq16nP01Hw-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=JIDl1domz0TJn_WciJ9XfgtL5pHbOYj-swaiA5L8eRA&e=>


---------- Forwarded message ---------
From: Collaborative Cataloging Japan <Ann_Adachi at collabjapan.org>
Date: Fri, Jun 7, 2024 at 11:29?AM
Subject: Update on our Community of Images exhibition
To: <adachi.ann at gmail.com>

View this email in your browser
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fmailchi.mp-252Fc1fb556e0e31-252Fupdate-2Don-2Dour-2Dcommunity-2Dof-2Dimages-2Dexhibition-253Fe-253D3e3f43cb1b-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953273995-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3DqmIxp9npOgFendo-252FORrEdjQZBpeNswzkLmRgzr7wkiA-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=JaGf2wrdQs7zfIsRtEF7vZOkoJnCmCOlaoeqOWeaiXs&e=>

*An update following the closure of the University of the Arts*

On Friday, May 31, 2024, the University of the Arts, a primary presenting
partner for ?Community of Images,? abruptly announced its closure, slated
for Friday, June 7, 2024. Not only did its former staff have to find out
through the news that they had lost their jobs, but the closure has had a
ripple effect on the entire Philadelphia creative community, us included.
With the shuttering of the UArts-affiliated Philadelphia Art Alliance, the
status of the exhibition and related programs became uncertain. This show
has been years in the making and the team *is doing everything it can* to
ensure that people are able to experience these incredible works.


We are lucky to be able to confirm that the opening
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fcollabjapan.us12.list-2Dmanage.com-252Ftrack-252Fclick-253Fu-253D6811ff8563069846ea9d89f67-2526id-253D7721015786-2526e-253D3e3f43cb1b-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953273995-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3D-252FbGL1zUVLDTLQ3Tl-252FXG7j9HrwhWrQDhXuMTRTLdMrF8-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=biI3YeEbpTFJhYVNS6Qw4OijapLr8jfebgwOUUmDEjQ&e=>
 *will go ahead* on June 14 at Philadelphia Art Alliance, but our
solidarity goes out to all the dedicated arts workers affected by this
decision. Other related programs will be presented, but venues are subject
to change. Please check the event pages for accurate information.


Below is a comment from our director and the show?s co-curator,
Ann Adachi-Tasch.

*?With the mission of preserving Japanese avant-garde moving image works,
my colleagues Go, Julian, and I have been steadily contributing our time
and resources to research into the collections and establish relationships
with artists and organizations to save historically important films and
video, sometimes one title at a time. What we are presenting at the
Philadelphia Art Alliance is the culmination of years--even before we began
researching for this exhibition--of hands-on field work. We will continue
this work no matter the outcome of our exhibition, but we hope that the
stories of these Japanese artists that may shed light to uncommon and
unexpected understandings of these histories, can be accessed by a wider
audience.?*

For the latest updates, please refer to the exhibition website.

https://www.collabjapan.org/community-of-images
<https://urldefense.proofpoint.com/v2/url?u=https-3A__nam02.safelinks.protection.outlook.com_-3Furl-3Dhttps-253A-252F-252Fcollabjapan.us12.list-2Dmanage.com-252Ftrack-252Fclick-253Fu-253D6811ff8563069846ea9d89f67-2526id-253Dae3b61769b-2526e-253D3e3f43cb1b-26data-3D05-257C02-257CJAHF-2540si-2Dlistserv.si.edu-257Cf99f51133abf4437180208dc8b2c601b-257C989b5e2a14e44efe93b78cdd5fc5d11c-257C0-257C0-257C638538269953273995-257CUnknown-257CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0-253D-257C0-257C-257C-257C-26sdata-3D1WRU7mS98P5rtfotLArx4oh4pF6OWa31n2svXWc1Jb4-253D-26reserved-3D0&d=DwMFaQ&c=009klHSCxuh5AI1vNQzSO0KGjl4nbi2Q0M1QLJX9BeE&r=6_TgN9Za943yt90WSCfwIjc9nB2jp-miRvJxEvZFyEc&m=uj2fgGQV2ZSUIGAROyo-BiV_-Xup0cI1SodIwPkvc4GBTKb1jm6Z37HxpAH8oCXr&s=Iz_KaroWXVt25-B-6V-tXYPEnL9qiushDN7vjlBzvuk&e=>


>
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From unkleque at yahoo.com.au  Wed Jun 19 07:31:15 2024
From: unkleque at yahoo.com.au (quentin turnour)
Date: Wed, 19 Jun 2024 11:31:15 +0000 (UTC)
Subject: [KineJapan] ORTHOchromatic SHIN GODZILLA?
References: <356138712.7662623.1718796675919.ref@mail.yahoo.com>
Message-ID: <356138712.7662623.1718796675919@mail.yahoo.com>

Just seen the NY Japan Society announce that they will internationally premiere the 'ORTHOchromatic' version of the 2016 franchise's re-re-re-re-re-...boot here: https://japansociety.org/events/shin-godzilla-orthochromatic-encore/?Does anyone know it the rationale for this - beyond mere novelty and a market ploy / excuse to re-release - has been explained in the Japanese press??
Japanese film labs have a great tradition of pioneering creative optical-chemical film processes. Bleach-bypassing is just one. So I though for a moment that this might be the revival of a past process used on a Toho release in the past. There's also the argument Dr. George Miller made when he re-released FURY ROAD in grey scale; because that's how he saw the film in his head, in development. But B&W FURY ROAD emphasised the gleaming silvers and chiaroscuro. 

This is not so explicable. If it reflects an old-school film process you'd hope for a Christopher Nolan-style 70mm film re-release, which is back in fashion in the US with VistaVision and similar 1950s big screen format originals getting restorations (like the new version of THE SEARCHERS). But this is appearing only on DCP.?
Obvious, also SHIN GODZILLA is a contemporary-set film, and stands out in the franchise for playing in the field of post 3/11 Japanese social commentary. Surely a 1950s B&W Tohoscope sort of retro feel would be better applied to the newer, overtly retro GODZILLA -1?
Finally and weirdest of all: Is this really Orthochromatic? English-language marketing is being coy about what this actually means, but silent film- and early photography historians will know its the old, pre-1922 B&W film process, which basically could only see?blue and green colours in the spectrum, and explaining why pre-mid 1920s silent films are often drab, often have dense daylight shadows, little detail in clear blue sky, and coal-black reds. (This Wiki on this does a better job explaining this than me (and I like that the photo they use to illustrate what it did to Union Jacks features the famous Australian explorer Douglas Mawson): https://en.wikipedia.org/wiki/Orthochromasia. This other Wiki explains why panchromatic film can see the whole spectrum: https://en.wikipedia.org/wiki/Panchromatic_film. 

So are Toho merely playing with an English loan word they hope no one in Japan actually understands? Is this meta-play with some corner of GODZILLIA or Toho history? Does the ortho, missing colour-specturm aesthetic make this a movie-going experience I need to have (per this article, which acknowledges ortho's charms using modern stocks: https://thedarkroom.com/orthochromatic-vs-panchromatic-film-a-photo-comparison/ )??
Or is it all just hype?

Quentin TurnourNational Archives of Australia / Cinema Reborn Film Festival, Sydney.


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From adfee96 at gmail.com  Wed Jun 19 11:53:26 2024
From: adfee96 at gmail.com (Alexander Fee)
Date: Wed, 19 Jun 2024 11:53:26 -0400
Subject: [KineJapan] ORTHOchromatic SHIN GODZILLA?
In-Reply-To: <356138712.7662623.1718796675919@mail.yahoo.com>
References: <356138712.7662623.1718796675919.ref@mail.yahoo.com>
 <356138712.7662623.1718796675919@mail.yahoo.com>
Message-ID: <CAKPd27gwkn79z_FJvG7v4hDsoBZQmfgjW_-qqEDVS0U_FpJbfQ@mail.gmail.com>

Hi Quentin,

*Orthochromatic* was originally released in advance of *Minus One*'s
release (it can be surmised that the *Minus One Minus Color* version came
as a result of *Ortho*). *Minus One* director Yamazaki was asked to select
his favorite Godzilla films and present them as a leadup to *Minus One*.
When Anno was asked to attend the screening of *Shin Godzilla *(also
selected by Yamazaki), he proposed this Ortho version. The actual process
they undertook is not entirely clear, but the project was overseen by
Shinji Higuchi and Katsuro Onoue. The Japanese announcement of Ortho
described orthochromatic as (this is a DeepL translation FYI) "a type of
black-and-white film with a characteristic of not being sensitive to
reddish colors. It is characterized by a heavier face tone than
panchromatic film, the current mainstream monochrome film, and we aimed for
this texture and incorporated it into the title." (
https://eiga.com/news/20231003/9/).

Best,
Alexander

???
*Alexander Fee*
*adfee96 at gmail.com <adfee96 at gmail.com>* | *513.473.2232 *| alexanderfee.com


On Wed, Jun 19, 2024 at 7:31?AM quentin turnour via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Just seen the NY Japan Society announce that they will internationally
> premiere the 'ORTHOchromatic' version of the 2016 franchise's
> re-re-re-re-re-...boot here:
> https://japansociety.org/events/shin-godzilla-orthochromatic-encore/
>
> Does anyone know it the rationale for this - beyond mere novelty and a
> market ploy / excuse to re-release - has been explained in the Japanese
> press?
>
> Japanese film labs have a great tradition of pioneering creative
> optical-chemical film processes. Bleach-bypassing is just one. So I though
> for a moment that this might be the revival of a past process used on a
> Toho release in the past. There's also the argument Dr. George Miller made
> when he re-released FURY ROAD in grey scale; because that's how he saw the
> film in his head, in development. But B&W FURY ROAD emphasised the gleaming
> silvers and chiaroscuro.
>
> This is not so explicable. If it reflects an old-school film process you'd
> hope for a Christopher Nolan-style 70mm film re-release, which is back in
> fashion in the US with VistaVision and similar 1950s big screen format
> originals getting restorations (like the new version of THE SEARCHERS). But
> this is appearing only on DCP.
>
> Obvious, also SHIN GODZILLA is a contemporary-set film, and stands out in
> the franchise for playing in the field of post 3/11 Japanese social
> commentary. Surely a 1950s B&W Tohoscope sort of retro feel would be better
> applied to the newer, overtly retro GODZILLA -1?
>
> Finally and weirdest of all: Is this really Orthochromatic?
> English-language marketing is being coy about what this actually means, but
> silent film- and early photography historians will know its the old,
> pre-1922 B&W film process, which basically could only see blue and green colours
> in the spectrum, and explaining why pre-mid 1920s silent films are often
> drab, often have dense daylight shadows, little detail in clear blue sky,
> and coal-black reds. (This Wiki on this does a better job explaining this
> than me (and I like that the photo they use to illustrate what it did to
> Union Jacks features the famous Australian explorer Douglas Mawson):
> https://en.wikipedia.org/wiki/Orthochromasia. This other Wiki explains
> why panchromatic film can see the whole spectrum:
> https://en.wikipedia.org/wiki/Panchromatic_film.
>
> So are Toho merely playing with an English loan word they hope no one in
> Japan actually understands? Is this meta-play with some corner of GODZILLIA
> or Toho history? Does the ortho, missing colour-specturm aesthetic make
> this a movie-going experience I need to have (per this article, which
> acknowledges ortho's charms using modern stocks:
> https://thedarkroom.com/orthochromatic-vs-panchromatic-film-a-photo-comparison/
> )?
>
> Or is it all just hype?
>
> Quentin Turnour
> National Archives of Australia / Cinema Reborn Film Festival, Sydney.
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From unkleque at yahoo.com.au  Wed Jun 19 22:00:17 2024
From: unkleque at yahoo.com.au (quentin turnour)
Date: Thu, 20 Jun 2024 02:00:17 +0000 (UTC)
Subject: [KineJapan] ORTHOchromatic SHIN GODZILLA?
In-Reply-To: <CAKPd27gwkn79z_FJvG7v4hDsoBZQmfgjW_-qqEDVS0U_FpJbfQ@mail.gmail.com>
References: <356138712.7662623.1718796675919.ref@mail.yahoo.com>
 <356138712.7662623.1718796675919@mail.yahoo.com>
 <CAKPd27gwkn79z_FJvG7v4hDsoBZQmfgjW_-qqEDVS0U_FpJbfQ@mail.gmail.com>
Message-ID: <1807623772.8024318.1718848817853@mail.yahoo.com>

 Alexander - thank you so very much. You've satisfied my curiosity.?
The NY Japan Society screening is on DCP, so there has to have been a Digital Intermediate made. And for all the talk of 'film' in your translation, my guess is that the whole thing was done in the digital post- realm, rather than any optical-chemical lab work being involved. But Japanese film labs still like to experiment (someone from Imagica is always appearing at film archiving conferences with a paper on their latest research in film colour restoration science that's hard to follow but rewarding if you can). So I wonder if there was any release of the ORTHO version in Japan on 35mm film, although I have no idea how many commercial venues there can still run 35mm. And if so, whether the release screening print stock was actually orthochromatic? That would be fascinating, although the same(-ish) effect can be achieved in the Digital Intermediate, then laser film recorder-outputted to a normal modern 35mm stock.
Thanks also for alerting me to a MINUS ONE MINUS COLOR version of Yamazaki's -ONE. I had no idea, but the Wiki article on the film now devotes a full section to its January release in Japan, https://en.wikipedia.org/w/index.php?title=Godzilla_Minus_One&action=edit?ion=18 with a reference to discussion at one point about integrating colour and B&W in the style of Kuriosawa's TENGOKU TO JIGOKU.
QT.

    On Thursday, 20 June 2024 at 01:54:33 am AEST, Alexander Fee via KineJapan <kinejapan at mailman.yale.edu> wrote:??????????? 
 
 
 Hi Quentin,
Orthochromatic?was originally released in advance of Minus One's release (it can be surmised that the Minus One Minus Color version came as a result of Ortho). Minus One director Yamazaki was asked to select his favorite Godzilla films and present them as a leadup to Minus One. When Anno was asked to attend the screening of Shin Godzilla (also selected by Yamazaki), he proposed this Ortho version. The actual process they undertook is not entirely clear, but the project was overseen by Shinji Higuchi and?Katsuro Onoue. The Japanese announcement of Ortho described orthochromatic as (this is a DeepL translation FYI) "a type of black-and-white film with a characteristic of not being sensitive to reddish colors. It is characterized by a heavier face tone than panchromatic film, the current mainstream monochrome film, and we aimed for this texture and incorporated it into the title." (https://eiga.com/news/20231003/9/).?
Best,Alexander
???
Alexander Feeadfee96 at gmail.com?|?513.473.2232?| alexanderfee.com

On Wed, Jun 19, 2024 at 7:31?AM quentin turnour via KineJapan <kinejapan at mailman.yale.edu> wrote:

Just seen the NY Japan Society announce that they will internationally premiere the 'ORTHOchromatic' version of the 2016 franchise's re-re-re-re-re-...boot here: https://japansociety.org/events/shin-godzilla-orthochromatic-encore/?Does anyone know it the rationale for this - beyond mere novelty and a market ploy / excuse to re-release - has been explained in the Japanese press??
Japanese film labs have a great tradition of pioneering creative optical-chemical film processes. Bleach-bypassing is just one. So I though for a moment that this might be the revival of a past process used on a Toho release in the past. There's also the argument Dr. George Miller made when he re-released FURY ROAD in grey scale; because that's how he saw the film in his head, in development. But B&W FURY ROAD emphasised the gleaming silvers and chiaroscuro. 

This is not so explicable. If it reflects an old-school film process you'd hope for a Christopher Nolan-style 70mm film re-release, which is back in fashion in the US with VistaVision and similar 1950s big screen format originals getting restorations (like the new version of THE SEARCHERS). But this is appearing only on DCP.?
Obvious, also SHIN GODZILLA is a contemporary-set film, and stands out in the franchise for playing in the field of post 3/11 Japanese social commentary. Surely a 1950s B&W Tohoscope sort of retro feel would be better applied to the newer, overtly retro GODZILLA -1?
Finally and weirdest of all: Is this really Orthochromatic? English-language marketing is being coy about what this actually means, but silent film- and early photography historians will know its the old, pre-1922 B&W film process, which basically could only see?blue and green colours in the spectrum, and explaining why pre-mid 1920s silent films are often drab, often have dense daylight shadows, little detail in clear blue sky, and coal-black reds. (This Wiki on this does a better job explaining this than me (and I like that the photo they use to illustrate what it did to Union Jacks features the famous Australian explorer Douglas Mawson): https://en.wikipedia.org/wiki/Orthochromasia. This other Wiki explains why panchromatic film can see the whole spectrum: https://en.wikipedia.org/wiki/Panchromatic_film. 

So are Toho merely playing with an English loan word they hope no one in Japan actually understands? Is this meta-play with some corner of GODZILLIA or Toho history? Does the ortho, missing colour-specturm aesthetic make this a movie-going experience I need to have (per this article, which acknowledges ortho's charms using modern stocks: https://thedarkroom.com/orthochromatic-vs-panchromatic-film-a-photo-comparison/ )??
Or is it all just hype?

Quentin TurnourNational Archives of Australia / Cinema Reborn Film Festival, Sydney.


_______________________________________________
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KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan

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From adfee96 at gmail.com  Thu Jun 20 09:01:14 2024
From: adfee96 at gmail.com (Alexander Fee)
Date: Thu, 20 Jun 2024 09:01:14 -0400
Subject: [KineJapan] ORTHOchromatic SHIN GODZILLA?
In-Reply-To: <1807623772.8024318.1718848817853@mail.yahoo.com>
References: <356138712.7662623.1718796675919.ref@mail.yahoo.com>
 <356138712.7662623.1718796675919@mail.yahoo.com>
 <CAKPd27gwkn79z_FJvG7v4hDsoBZQmfgjW_-qqEDVS0U_FpJbfQ@mail.gmail.com>
 <1807623772.8024318.1718848817853@mail.yahoo.com>
Message-ID: <CAKPd27jr7zb3XASS1Zh8zgFr+QWneC=j7JVuQWkq34W_5cmCqg@mail.gmail.com>

Hi Quentin,

Of course! I should also add, as I realize it's not clear, that I'm the
film programmer for Japan Society. I'd guess this is best seen as a digital
emulation of orthochromatic. It would require a lot of funding to do the
orthochromatic photochemically, so while IMAGICA may have the ability, it's
ultimately a question of whether Toho would see the value in these analog
processes - something I'd be unsure of. It's very rare nowadays to see any
contemporary Japanese films shot on 35mm, much less have new 35mm prints
struck unfortunately. I believe ORTHO has only been distributed digitally.

Best,
Alexander


???
*Alexander Fee*
*adfee96 at gmail.com <adfee96 at gmail.com>* | *513.473.2232 *| alexanderfee.com


On Wed, Jun 19, 2024 at 10:00?PM quentin turnour <unkleque at yahoo.com.au>
wrote:

> Alexander - thank you so very much. You've satisfied my curiosity.
>
> The NY Japan Society screening is on DCP, so there has to have been a
> Digital Intermediate made. And for all the talk of 'film' in your
> translation, my guess is that the whole thing was done in the digital post-
> realm, rather than any optical-chemical lab work being involved. But
> Japanese film labs still like to experiment (someone from Imagica is always
> appearing at film archiving conferences with a paper on their latest
> research in film colour restoration science that's hard to follow but
> rewarding if you can). So I wonder if there was any release of the ORTHO
> version in Japan on 35mm film, although I have no idea how many commercial
> venues there can still run 35mm. And if so, whether the release screening
> print stock was actually orthochromatic? That would be fascinating,
> although the same(-ish) effect can be achieved in the Digital Intermediate,
> then laser film recorder-outputted to a normal modern 35mm stock.
>
> Thanks also for alerting me to a MINUS ONE MINUS COLOR version of
> Yamazaki's -ONE. I had no idea, but the Wiki article on the film now
> devotes a full section to its January release in Japan,
> https://en.wikipedia.org/w/index.php?title=Godzilla_Minus_One&action=edit?ion=18
> <https://en.wikipedia.org/w/index.php?title=Godzilla_Minus_One&action=edit&section=18>
> with a reference to discussion at one point about integrating colour and
> B&W in the style of Kuriosawa's TENGOKU TO JIGOKU*.*
>
> QT.
>
> On Thursday, 20 June 2024 at 01:54:33 am AEST, Alexander Fee via KineJapan
> <kinejapan at mailman.yale.edu> wrote:
>
>
> Hi Quentin,
>
> *Orthochromatic* was originally released in advance of *Minus One*'s
> release (it can be surmised that the *Minus One Minus Color* version came
> as a result of *Ortho*). *Minus One* director Yamazaki was asked to
> select his favorite Godzilla films and present them as a leadup to *Minus
> One*. When Anno was asked to attend the screening of *Shin Godzilla *(also
> selected by Yamazaki), he proposed this Ortho version. The actual process
> they undertook is not entirely clear, but the project was overseen by
> Shinji Higuchi and Katsuro Onoue. The Japanese announcement of Ortho
> described orthochromatic as (this is a DeepL translation FYI) "a type of
> black-and-white film with a characteristic of not being sensitive to
> reddish colors. It is characterized by a heavier face tone than
> panchromatic film, the current mainstream monochrome film, and we aimed for
> this texture and incorporated it into the title." (
> https://eiga.com/news/20231003/9/).
>
> Best,
> Alexander
>
> ???
> *Alexander Fee*
> *adfee96 at gmail.com <adfee96 at gmail.com>* | *513.473.2232 *|
> alexanderfee.com
>
>
> On Wed, Jun 19, 2024 at 7:31?AM quentin turnour via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> Just seen the NY Japan Society announce that they will internationally
> premiere the 'ORTHOchromatic' version of the 2016 franchise's
> re-re-re-re-re-...boot here:
> https://japansociety.org/events/shin-godzilla-orthochromatic-encore/
>
> Does anyone know it the rationale for this - beyond mere novelty and a
> market ploy / excuse to re-release - has been explained in the Japanese
> press?
>
> Japanese film labs have a great tradition of pioneering creative
> optical-chemical film processes. Bleach-bypassing is just one. So I though
> for a moment that this might be the revival of a past process used on a
> Toho release in the past. There's also the argument Dr. George Miller made
> when he re-released FURY ROAD in grey scale; because that's how he saw the
> film in his head, in development. But B&W FURY ROAD emphasised the gleaming
> silvers and chiaroscuro.
>
> This is not so explicable. If it reflects an old-school film process you'd
> hope for a Christopher Nolan-style 70mm film re-release, which is back in
> fashion in the US with VistaVision and similar 1950s big screen format
> originals getting restorations (like the new version of THE SEARCHERS). But
> this is appearing only on DCP.
>
> Obvious, also SHIN GODZILLA is a contemporary-set film, and stands out in
> the franchise for playing in the field of post 3/11 Japanese social
> commentary. Surely a 1950s B&W Tohoscope sort of retro feel would be better
> applied to the newer, overtly retro GODZILLA -1?
>
> Finally and weirdest of all: Is this really Orthochromatic?
> English-language marketing is being coy about what this actually means, but
> silent film- and early photography historians will know its the old,
> pre-1922 B&W film process, which basically could only see blue and green colours
> in the spectrum, and explaining why pre-mid 1920s silent films are often
> drab, often have dense daylight shadows, little detail in clear blue sky,
> and coal-black reds. (This Wiki on this does a better job explaining this
> than me (and I like that the photo they use to illustrate what it did to
> Union Jacks features the famous Australian explorer Douglas Mawson):
> https://en.wikipedia.org/wiki/Orthochromasia. This other Wiki explains
> why panchromatic film can see the whole spectrum:
> https://en.wikipedia.org/wiki/Panchromatic_film.
>
> So are Toho merely playing with an English loan word they hope no one in
> Japan actually understands? Is this meta-play with some corner of GODZILLIA
> or Toho history? Does the ortho, missing colour-specturm aesthetic make
> this a movie-going experience I need to have (per this article, which
> acknowledges ortho's charms using modern stocks:
> https://thedarkroom.com/orthochromatic-vs-panchromatic-film-a-photo-comparison/
> )?
>
> Or is it all just hype?
>
> Quentin Turnour
> National Archives of Australia / Cinema Reborn Film Festival, Sydney.
>
>
> _______________________________________________
> 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 unkleque at yahoo.com.au  Thu Jun 20 11:40:47 2024
From: unkleque at yahoo.com.au (quentin turnour)
Date: Thu, 20 Jun 2024 15:40:47 +0000 (UTC)
Subject: [KineJapan] ORTHOchromatic SHIN GODZILLA?
In-Reply-To: <CAKPd27jr7zb3XASS1Zh8zgFr+QWneC=j7JVuQWkq34W_5cmCqg@mail.gmail.com>
References: <356138712.7662623.1718796675919.ref@mail.yahoo.com>
 <356138712.7662623.1718796675919@mail.yahoo.com>
 <CAKPd27gwkn79z_FJvG7v4hDsoBZQmfgjW_-qqEDVS0U_FpJbfQ@mail.gmail.com>
 <1807623772.8024318.1718848817853@mail.yahoo.com>
 <CAKPd27jr7zb3XASS1Zh8zgFr+QWneC=j7JVuQWkq34W_5cmCqg@mail.gmail.com>
Message-ID: <1292124815.8229876.1718898047133@mail.yahoo.com>

 Thanks for clarifying this Alexander. Hope the NY screening goes well. Unlikely to see it here. -ONE did surprisingly well here but on the lure of the GODZILLA franchise brand; the suburban Sydney multiplex audience I saw it with was bewildered by the 1950s Japanese setting and political and historical references, and couldn't wait for the film to get on with the monster-mashing. Whereas my sentiments were in inverse proportion.

You've got me thinking about the state of 35mm filmmaking in Japan.?
Post the Digitial Intermediate's emergence in the mid-2000s, but pre-the DCP mass rollout in 2012, a common feature film workflow globally was 35mm camera neg > digital scanning > DI > filmrecorder out to 35mm release print. DCP changed the last step, but 35mm negative originated productions are still more common than realised (I saw two features straight from Cannes at my local film festival last night, one Indian, one Portuguese; both had been shot on 35mm, speckle and all). That being said, even Nolan isn't making film intermediates, no matter his allegiance to shooting and releasing on film. 

Remembering that Yamada Yoji was still shooting film (I believe that's the case also for last year's KONNICHITA, KASAN?)? a quick google found an article from 2019 about Tokyo Laboratory Tokyo Genz?sho still at work (but looking pretty 1980s from the photos) pre-COVID: Tokyo Laboratory remains a stalwart champion of analog film production. But the Anime News reported late last year that current owners Toho were closing it, mentioning that Toho was going to form a new restoration lab along the lines of US studios like Sony and Universal:? Tokyo Laboratory Shuts Down in November, Works to Return Film Originals. This Reddit thread follow-up reports that there has been the usual nightmare of an old film film lab suddenly closing, with stored but orphaned negs potentially getting dumped because clients can't be located: https://www.reddit.com/r/DataHoarder/comments/16e0lk3/tokyo_lab_which_archived_many_old_anime_since/
The Japan Times also ran a piece late last year on surviving 35mm mini-theatres, with a focus on The Royal in Gifu, north of Nagoya, the last surviving 35mm-only commercial cinema, now just showing Showa-era films: Mini-theater showing 35mm films is struggling to survive. It seems to still be in business. Google says The Royal is currently running sessions of Segawa Masaharu's 1978 KIGEKI YAKUSHA-TACHI: SOOPER TO GABBLE,? a film featuring comedian?Tamori I know nothing about, beyond this Tiktok fan video here: ???????????????? ???????????????1978??.
QT.





    On Thursday, 20 June 2024 at 11:01:29 pm AEST, Alexander Fee <adfee96 at gmail.com> wrote:  
 
 Hi Quentin,
Of course! I should also add, as I realize it's not clear, that I'm the film programmer for Japan Society. I'd guess this is best seen as a digital emulation of orthochromatic. It would require a lot of funding to do the orthochromatic photochemically, so while IMAGICA may have the ability, it's ultimately a question of whether Toho would see the value in these analog processes - something I'd be unsure of. It's very rare nowadays to see any contemporary Japanese films shot on 35mm, much less have new 35mm prints struck unfortunately. I believe ORTHO has only been distributed digitally.
Best,Alexander

???
Alexander Feeadfee96 at gmail.com?|?513.473.2232?| alexanderfee.com

On Wed, Jun 19, 2024 at 10:00?PM quentin turnour <unkleque at yahoo.com.au> wrote:

 Alexander - thank you so very much. You've satisfied my curiosity.?
The NY Japan Society screening is on DCP, so there has to have been a Digital Intermediate made. And for all the talk of 'film' in your translation, my guess is that the whole thing was done in the digital post- realm, rather than any optical-chemical lab work being involved. But Japanese film labs still like to experiment (someone from Imagica is always appearing at film archiving conferences with a paper on their latest research in film colour restoration science that's hard to follow but rewarding if you can). So I wonder if there was any release of the ORTHO version in Japan on 35mm film, although I have no idea how many commercial venues there can still run 35mm. And if so, whether the release screening print stock was actually orthochromatic? That would be fascinating, although the same(-ish) effect can be achieved in the Digital Intermediate, then laser film recorder-outputted to a normal modern 35mm stock.
Thanks also for alerting me to a MINUS ONE MINUS COLOR version of Yamazaki's -ONE. I had no idea, but the Wiki article on the film now devotes a full section to its January release in Japan, https://en.wikipedia.org/w/index.php?title=Godzilla_Minus_One&action=edit?ion=18 with a reference to discussion at one point about integrating colour and B&W in the style of Kuriosawa's TENGOKU TO JIGOKU.
QT.

    On Thursday, 20 June 2024 at 01:54:33 am AEST, Alexander Fee via KineJapan <kinejapan at mailman.yale.edu> wrote:??????????? 
 
 
 Hi Quentin,
Orthochromatic?was originally released in advance of Minus One's release (it can be surmised that the Minus One Minus Color version came as a result of Ortho). Minus One director Yamazaki was asked to select his favorite Godzilla films and present them as a leadup to Minus One. When Anno was asked to attend the screening of Shin Godzilla (also selected by Yamazaki), he proposed this Ortho version. The actual process they undertook is not entirely clear, but the project was overseen by Shinji Higuchi and?Katsuro Onoue. The Japanese announcement of Ortho described orthochromatic as (this is a DeepL translation FYI) "a type of black-and-white film with a characteristic of not being sensitive to reddish colors. It is characterized by a heavier face tone than panchromatic film, the current mainstream monochrome film, and we aimed for this texture and incorporated it into the title." (https://eiga.com/news/20231003/9/).?
Best,Alexander
???
Alexander Feeadfee96 at gmail.com?|?513.473.2232?| alexanderfee.com

On Wed, Jun 19, 2024 at 7:31?AM quentin turnour via KineJapan <kinejapan at mailman.yale.edu> wrote:

Just seen the NY Japan Society announce that they will internationally premiere the 'ORTHOchromatic' version of the 2016 franchise's re-re-re-re-re-...boot here: Shin Godzilla: Orthochromatic (Encore)

| 
| 
| 
|  |  |

 |

 |
| 
|  | 
Shin Godzilla: Orthochromatic (Encore)

Hideaki Anno and Shinji Higuchi?s 21st century masterpiece is reborn with this stunning black-and-white version....
 |

 |

 |



?Does anyone know it the rationale for this - beyond mere novelty and a market ploy / excuse to re-release - has been explained in the Japanese press??
Japanese film labs have a great tradition of pioneering creative optical-chemical film processes. Bleach-bypassing is just one. So I though for a moment that this might be the revival of a past process used on a Toho release in the past. There's also the argument Dr. George Miller made when he re-released FURY ROAD in grey scale; because that's how he saw the film in his head, in development. But B&W FURY ROAD emphasised the gleaming silvers and chiaroscuro. 

This is not so explicable. If it reflects an old-school film process you'd hope for a Christopher Nolan-style 70mm film re-release, which is back in fashion in the US with VistaVision and similar 1950s big screen format originals getting restorations (like the new version of THE SEARCHERS). But this is appearing only on DCP.?
Obvious, also SHIN GODZILLA is a contemporary-set film, and stands out in the franchise for playing in the field of post 3/11 Japanese social commentary. Surely a 1950s B&W Tohoscope sort of retro feel would be better applied to the newer, overtly retro GODZILLA -1?
Finally and weirdest of all: Is this really Orthochromatic? English-language marketing is being coy about what this actually means, but silent film- and early photography historians will know its the old, pre-1922 B&W film process, which basically could only see?blue and green colours in the spectrum, and explaining why pre-mid 1920s silent films are often drab, often have dense daylight shadows, little detail in clear blue sky, and coal-black reds. (This Wiki on this does a better job explaining this than me (and I like that the photo they use to illustrate what it did to Union Jacks features the famous Australian explorer Douglas Mawson): Orthochromasia - Wikipedia. This other Wiki explains why panchromatic film can see the whole spectrum: Panchromatic film - Wikipedia. 


| 
| 
|  | 
Panchromatic film - Wikipedia

A panchromatic emulsion renders a realistic reproduction of a scene as it appears to the human eye, although wit...
 |

 |

 |





| 
| 
|  | 
Orthochromasia - Wikipedia

In spectral terms, orthochromasia refers to maintaining the position of spectral peaks, while metachromasia refe...
 |

 |

 |




So are Toho merely playing with an English loan word they hope no one in Japan actually understands? Is this meta-play with some corner of GODZILLIA or Toho history? Does the ortho, missing colour-specturm aesthetic make this a movie-going experience I need to have (per this article, which acknowledges ortho's charms using modern stocks: Orthochromatic vs Panchromatic film - A Photo Comparison

| 
| 
| 
|  |  |

 |

 |
| 
|  | 
Orthochromatic vs Panchromatic film - A Photo Comparison

Trevor Lee

This history of B&W film as it evolves from Orthochromatic to Panchromatic
 |

 |

 |



 )??
Or is it all just hype?

Quentin TurnourNational Archives of Australia / Cinema Reborn Film Festival, Sydney.


_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan

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From nornes at umich.edu  Thu Jun 20 12:39:44 2024
From: nornes at umich.edu (Markus Nornes)
Date: Thu, 20 Jun 2024 10:39:44 -0600
Subject: [KineJapan] ORTHOchromatic SHIN GODZILLA?
In-Reply-To: <1292124815.8229876.1718898047133@mail.yahoo.com>
References: <356138712.7662623.1718796675919.ref@mail.yahoo.com>
 <356138712.7662623.1718796675919@mail.yahoo.com>
 <CAKPd27gwkn79z_FJvG7v4hDsoBZQmfgjW_-qqEDVS0U_FpJbfQ@mail.gmail.com>
 <1807623772.8024318.1718848817853@mail.yahoo.com>
 <CAKPd27jr7zb3XASS1Zh8zgFr+QWneC=j7JVuQWkq34W_5cmCqg@mail.gmail.com>
 <1292124815.8229876.1718898047133@mail.yahoo.com>
Message-ID: <CANoSnpCAsvO2Z5u-n+fGPR3W5uQ6VkcZ0oGPbLN4tTp_GF=p3g@mail.gmail.com>

This thread got me curious about the Ortho version and I did some digging.
It's striking how little information is out there in Japanese. My
conclusion: 1) it's just a reverse-colorized version made to look
orthochromatic and retro, and 2) it was simply an attempt to squeeze out a
few more tickets and Blu-Ray sales while the fandom is still churning after
-1, and 3) it wasn't terrible successful.

It would have been a waste of time had I not come across this fantastic
fan-made trailer perfectly mimicking preview styles of the 50s. Definitely
check it out!

Markus

https://youtu.be/QSApaEDbg4w?si=6u49hy5oD2b4f3bh
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From echoi at movingimage.org  Thu Jun 20 12:49:22 2024
From: echoi at movingimage.org (Edo Choi)
Date: Thu, 20 Jun 2024 16:49:22 +0000
Subject: [KineJapan] ORTHOchromatic SHIN GODZILLA?
In-Reply-To: <1292124815.8229876.1718898047133@mail.yahoo.com>
References: <356138712.7662623.1718796675919.ref@mail.yahoo.com>
 <356138712.7662623.1718796675919@mail.yahoo.com>
 <CAKPd27gwkn79z_FJvG7v4hDsoBZQmfgjW_-qqEDVS0U_FpJbfQ@mail.gmail.com>
 <1807623772.8024318.1718848817853@mail.yahoo.com>
 <CAKPd27jr7zb3XASS1Zh8zgFr+QWneC=j7JVuQWkq34W_5cmCqg@mail.gmail.com>
 <1292124815.8229876.1718898047133@mail.yahoo.com>
Message-ID: <BY3PR15MB50745E61499781B0F806CD94B5C82@BY3PR15MB5074.namprd15.prod.outlook.com>

Not true with respect to Nolan. Release prints for IMAX, 35mm, and 70mm of OPPENHEIMER were graded photochemically: https://filmmakermagazine.com/123961-interview-hoyte-van-hoytema-oppenheimer/. The DCPs of course involved a DI process. He's one of the few directors who can still basically demand this workflow as part of his contract and get it.

Edo

---
Edo Choi
Associate Curator of Film & First Look Senior Programmer
Museum of the Moving Image
36-01 35th Avenue
Astoria, NY 11106
Office: 718-777-6826, Mobile: 917-921-0565

Edo Choi
Associate Curator of Film  & First Look Senior Programmer
718 777 6826917 921 0565
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NY11106
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From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of quentin turnour via KineJapan <kinejapan at mailman.yale.edu>
Sent: Thursday, June 20, 2024 11:40 AM
To: Alexander Fee <adfee96 at gmail.com>
Cc: quentin turnour <unkleque at yahoo.com.au>; Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Subject: Re: [KineJapan] ORTHOchromatic SHIN GODZILLA?

Thanks for clarifying this Alexander. Hope the NY screening goes well. Unlikely to see it here. -ONE did surprisingly well here but on the lure of the GODZILLA franchise brand; the suburban Sydney multiplex audience I saw it with was bewildered by the 1950s Japanese setting and political and historical references, and couldn't wait for the film to get on with the monster-mashing. Whereas my sentiments were in inverse proportion.

You've got me thinking about the state of 35mm filmmaking in Japan.

Post the Digitial Intermediate's emergence in the mid-2000s, but pre-the DCP mass rollout in 2012, a common feature film workflow globally was 35mm camera neg > digital scanning > DI > filmrecorder out to 35mm release print. DCP changed the last step, but 35mm negative originated productions are still more common than realised (I saw two features straight from Cannes at my local film festival last night, one Indian, one Portuguese; both had been shot on 35mm, speckle and all). That being said, even Nolan isn't making film intermediates, no matter his allegiance to shooting and releasing on film.

Remembering that Yamada Yoji was still shooting film (I believe that's the case also for last year's KONNICHITA, KASAN?)  a quick google found an article from 2019 about Tokyo Laboratory Tokyo Genz?sho still at work (but looking pretty 1980s from the photos) pre-COVID: Tokyo Laboratory remains a stalwart champion of analog film production<https://www.kodak.com/en/motion/blog-post/tokyo-laboratory/>. But the Anime News reported late last year that current owners Toho were closing it, mentioning that Toho was going to form a new restoration lab along the lines of US studios like Sony and Universal:  Tokyo Laboratory Shuts Down in November, Works to Return Film Originals<https://www.animenewsnetwork.com/news/2023-09-09/tokyo-laboratory-shuts-down-in-november-works-to-return-film-originals/.202144>. This Reddit thread follow-up reports that there has been the usual nightmare of an old film film lab suddenly closing, with stored but orphaned negs potentially getting dumped because clients can't be located: https://www.reddit.com/r/DataHoarder/comments/16e0lk3/tokyo_lab_which_archived_many_old_anime_since/

The Japan Times also ran a piece late last year on surviving 35mm mini-theatres, with a focus on The Royal in Gifu, north of Nagoya, the last surviving 35mm-only commercial cinema, now just showing Showa-era films: Mini-theater showing 35mm films is struggling to survive<https://www.japantimes.co.jp/news/2023/12/18/japan/society/mini-theaters-struggle/>. It seems to still be in business. Google says The Royal is currently running sessions of Segawa Masaharu's 1978 KIGEKI YAKUSHA-TACHI: SOOPER TO GABBLE,  a film featuring comedian Tamori I know nothing about, beyond this Tiktok fan video here: ???????????????? ???????????????1978??<https://www.youtube.com/watch?v=UCGNdAtABXs>.

QT.





On Thursday, 20 June 2024 at 11:01:29 pm AEST, Alexander Fee <adfee96 at gmail.com> wrote:


Hi Quentin,

Of course! I should also add, as I realize it's not clear, that I'm the film programmer for Japan Society. I'd guess this is best seen as a digital emulation of orthochromatic. It would require a lot of funding to do the orthochromatic photochemically, so while IMAGICA may have the ability, it's ultimately a question of whether Toho would see the value in these analog processes - something I'd be unsure of. It's very rare nowadays to see any contemporary Japanese films shot on 35mm, much less have new 35mm prints struck unfortunately. I believe ORTHO has only been distributed digitally.

Best,
Alexander


???
Alexander Fee
adfee96 at gmail.com<mailto:adfee96 at gmail.com> | 513.473.2232 | alexanderfee.com<http://alexanderfee.com>


On Wed, Jun 19, 2024 at 10:00?PM quentin turnour <unkleque at yahoo.com.au<mailto:unkleque at yahoo.com.au>> wrote:
Alexander - thank you so very much. You've satisfied my curiosity.

The NY Japan Society screening is on DCP, so there has to have been a Digital Intermediate made. And for all the talk of 'film' in your translation, my guess is that the whole thing was done in the digital post- realm, rather than any optical-chemical lab work being involved. But Japanese film labs still like to experiment (someone from Imagica is always appearing at film archiving conferences with a paper on their latest research in film colour restoration science that's hard to follow but rewarding if you can). So I wonder if there was any release of the ORTHO version in Japan on 35mm film, although I have no idea how many commercial venues there can still run 35mm. And if so, whether the release screening print stock was actually orthochromatic? That would be fascinating, although the same(-ish) effect can be achieved in the Digital Intermediate, then laser film recorder-outputted to a normal modern 35mm stock.

Thanks also for alerting me to a MINUS ONE MINUS COLOR version of Yamazaki's -ONE. I had no idea, but the Wiki article on the film now devotes a full section to its January release in Japan, https://en.wikipedia.org/w/index.php?title=Godzilla_Minus_One&action=edit?ion=18<https://en.wikipedia.org/w/index.php?title=Godzilla_Minus_One&action=edit&section=18> with a reference to discussion at one point about integrating colour and B&W in the style of Kuriosawa's TENGOKU TO JIGOKU.

QT.

On Thursday, 20 June 2024 at 01:54:33 am AEST, Alexander Fee via KineJapan <kinejapan at mailman.yale.edu<mailto:kinejapan at mailman.yale.edu>> wrote:


Hi Quentin,

Orthochromatic was originally released in advance of Minus One's release (it can be surmised that the Minus One Minus Color version came as a result of Ortho). Minus One director Yamazaki was asked to select his favorite Godzilla films and present them as a leadup to Minus One. When Anno was asked to attend the screening of Shin Godzilla (also selected by Yamazaki), he proposed this Ortho version. The actual process they undertook is not entirely clear, but the project was overseen by Shinji Higuchi and Katsuro Onoue. The Japanese announcement of Ortho described orthochromatic as (this is a DeepL translation FYI) "a type of black-and-white film with a characteristic of not being sensitive to reddish colors. It is characterized by a heavier face tone than panchromatic film, the current mainstream monochrome film, and we aimed for this texture and incorporated it into the title." (https://eiga.com/news/20231003/9/).

Best,
Alexander

???
Alexander Fee
adfee96 at gmail.com<mailto:adfee96 at gmail.com> | 513.473.2232 | alexanderfee.com<http://alexanderfee.com>


On Wed, Jun 19, 2024 at 7:31?AM quentin turnour via KineJapan <kinejapan at mailman.yale.edu<mailto:kinejapan at mailman.yale.edu>> wrote:
Just seen the NY Japan Society announce that they will internationally premiere the 'ORTHOchromatic' version of the 2016 franchise's re-re-re-re-re-...boot here: Shin Godzilla: Orthochromatic (Encore)<https://japansociety.org/events/shin-godzilla-orthochromatic-encore/>

<https://japansociety.org/events/shin-godzilla-orthochromatic-encore/>
Shin Godzilla: Orthochromatic (Encore)

Hideaki Anno and Shinji Higuchi?s 21st century masterpiece is reborn with this stunning black-and-white version....



Does anyone know it the rationale for this - beyond mere novelty and a market ploy / excuse to re-release - has been explained in the Japanese press?

Japanese film labs have a great tradition of pioneering creative optical-chemical film processes. Bleach-bypassing is just one. So I though for a moment that this might be the revival of a past process used on a Toho release in the past. There's also the argument Dr. George Miller made when he re-released FURY ROAD in grey scale; because that's how he saw the film in his head, in development. But B&W FURY ROAD emphasised the gleaming silvers and chiaroscuro.

This is not so explicable. If it reflects an old-school film process you'd hope for a Christopher Nolan-style 70mm film re-release, which is back in fashion in the US with VistaVision and similar 1950s big screen format originals getting restorations (like the new version of THE SEARCHERS). But this is appearing only on DCP.

Obvious, also SHIN GODZILLA is a contemporary-set film, and stands out in the franchise for playing in the field of post 3/11 Japanese social commentary. Surely a 1950s B&W Tohoscope sort of retro feel would be better applied to the newer, overtly retro GODZILLA -1?

Finally and weirdest of all: Is this really Orthochromatic? English-language marketing is being coy about what this actually means, but silent film- and early photography historians will know its the old, pre-1922 B&W film process, which basically could only see blue and green colours in the spectrum, and explaining why pre-mid 1920s silent films are often drab, often have dense daylight shadows, little detail in clear blue sky, and coal-black reds. (This Wiki on this does a better job explaining this than me (and I like that the photo they use to illustrate what it did to Union Jacks features the famous Australian explorer Douglas Mawson): Orthochromasia - Wikipedia<https://en.wikipedia.org/wiki/Orthochromasia>. This other Wiki explains why panchromatic film can see the whole spectrum: Panchromatic film - Wikipedia<https://en.wikipedia.org/wiki/Panchromatic_film>.

<https://en.wikipedia.org/wiki/Panchromatic_film>
Panchromatic film - Wikipedia

A panchromatic emulsion renders a realistic reproduction of a scene as it appears to the human eye, although wit...



<https://en.wikipedia.org/wiki/Orthochromasia>
Orthochromasia - Wikipedia

In spectral terms, orthochromasia refers to maintaining the position of spectral peaks, while metachromasia refe...



So are Toho merely playing with an English loan word they hope no one in Japan actually understands? Is this meta-play with some corner of GODZILLIA or Toho history? Does the ortho, missing colour-specturm aesthetic make this a movie-going experience I need to have (per this article, which acknowledges ortho's charms using modern stocks: Orthochromatic vs Panchromatic film - A Photo Comparison<https://thedarkroom.com/orthochromatic-vs-panchromatic-film-a-photo-comparison/>

<https://thedarkroom.com/orthochromatic-vs-panchromatic-film-a-photo-comparison/>
Orthochromatic vs Panchromatic film - A Photo Comparison

Trevor Lee

This history of B&W film as it evolves from Orthochromatic to Panchromatic


)?

Or is it all just hype?

Quentin Turnour
National Archives of Australia / Cinema Reborn Film Festival, Sydney.


_______________________________________________
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From nornes at umich.edu  Thu Jun 20 12:52:34 2024
From: nornes at umich.edu (Markus Nornes)
Date: Thu, 20 Jun 2024 10:52:34 -0600
Subject: [KineJapan] ORTHOchromatic SHIN GODZILLA?
In-Reply-To: <1292124815.8229876.1718898047133@mail.yahoo.com>
References: <356138712.7662623.1718796675919.ref@mail.yahoo.com>
 <356138712.7662623.1718796675919@mail.yahoo.com>
 <CAKPd27gwkn79z_FJvG7v4hDsoBZQmfgjW_-qqEDVS0U_FpJbfQ@mail.gmail.com>
 <1807623772.8024318.1718848817853@mail.yahoo.com>
 <CAKPd27jr7zb3XASS1Zh8zgFr+QWneC=j7JVuQWkq34W_5cmCqg@mail.gmail.com>
 <1292124815.8229876.1718898047133@mail.yahoo.com>
Message-ID: <CANoSnpBLW3SR_aEdrw541t6NjsSob2jybhsor=KyipLhj7Uodg@mail.gmail.com>

Thank you for these thoughtful comments. This is clearly a precarious
moment.


> Post the Digitial Intermediate's emergence in the mid-2000s, but pre-the
> DCP mass rollout in 2012, a common feature film workflow globally was 35mm
> camera neg > digital scanning > DI > filmrecorder out to 35mm release
> print. DCP changed the last step, but 35mm negative originated productions
> are still more common than realised That being said, even Nolan isn't
> making film intermediates, no matter his allegiance to shooting and
> releasing on film.
>
> Incidently, after Kinema Club I remained in Sheffield for the documentary
festival. Not much to say about it for this forum. However, I thought I'd
mention my favorite film of the festival, the world premiere of a total
geek fest. I can't even say it was a love letter to the moviola and 35mm
analog editing. It was totally focussed on the process as demonstrated to
none other than Walter Murch (who was there!) and an assistant editor?two
people that still have the muscle memory, which is clearly important.

They took a big chunk of raw digital footage from Mike Leigh's *Mr. Turner *and
made 35mm intermediates  (since for films shot on 35mm, the negatives are
already cut up) and transferred the raw sound to 35mm analogue two-strip.
The director worked Ebay and bought all the equipment he needed to edit,
except for a flatbed to watch the rough cut we watched them edit?they went
to the Kubrick estate to use the Steinbeck used for editing *The Shining*
and *Full Metal Jacket.*

When they are done, they call Mike Leigh to the Kubrick estate to evaluate
the rough cut. I won't ruin that revelation!

At any rate, the process was laborious, and it was clear from the
filmmaker's experience that the machines and materials to edit 35mm are
basically gone after this production (eg., they found what's probably the
last bit of edge tape for coding?at Pixar of all places). You could
palpably see why Nolan et al are immediately moving to digital after analog
capture.

Anyone interested in film history has to see this film. It's really
eye-opening.

Markus
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From nornes at umich.edu  Thu Jun 20 12:53:54 2024
From: nornes at umich.edu (Markus Nornes)
Date: Thu, 20 Jun 2024 10:53:54 -0600
Subject: [KineJapan] ORTHOchromatic SHIN GODZILLA?
In-Reply-To: <BY3PR15MB50745E61499781B0F806CD94B5C82@BY3PR15MB5074.namprd15.prod.outlook.com>
References: <356138712.7662623.1718796675919.ref@mail.yahoo.com>
 <356138712.7662623.1718796675919@mail.yahoo.com>
 <CAKPd27gwkn79z_FJvG7v4hDsoBZQmfgjW_-qqEDVS0U_FpJbfQ@mail.gmail.com>
 <1807623772.8024318.1718848817853@mail.yahoo.com>
 <CAKPd27jr7zb3XASS1Zh8zgFr+QWneC=j7JVuQWkq34W_5cmCqg@mail.gmail.com>
 <1292124815.8229876.1718898047133@mail.yahoo.com>
 <BY3PR15MB50745E61499781B0F806CD94B5C82@BY3PR15MB5074.namprd15.prod.outlook.com>
Message-ID: <CANoSnpCckH3Gx4f=roB5jgoAgjDBQX7LEzYP2S3=MSi7zEb8Tg@mail.gmail.com>

Did he cut on film, or edit digitally and cut the negative or what? Very
curious.

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*




On Thu, Jun 20, 2024 at 10:50?AM Edo Choi via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Not true with respect to Nolan. Release prints for IMAX, 35mm, and 70mm of
> OPPENHEIMER were graded photochemically:
> https://filmmakermagazine.com/123961-interview-hoyte-van-hoytema-oppenheimer/.
> The DCPs of course involved a DI process. He's one of the few directors who
> can still basically demand this workflow as part of his contract and get it.
>
> Edo
>
> ---
> Edo Choi
> Associate Curator of Film & First Look Senior Programmer
> Museum of the Moving Image
> 36-01 35th Avenue
> Astoria, NY 11106
> Office: 718-777-6826, Mobile: 917-921-0565
>
> Edo Choi????
> Associate Curator of Film  & First Look Senior Programmer
> 718 777 6826 <718%20777%206826>
> 917 921 0565 <917%20921%200565>
> 36?01 35 Ave ,
> Astoria ,
> NY
> 11106
> movingimage.org
> Follow us:
> <https://www.facebook.com/MovingImageMuseum>
> <https://twitter.com/MovingImageNYC>
> <https://www.instagram.com/movingimagenyc/>
>
>
> v.072922
> ------------------------------
> *From:* KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of
> quentin turnour via KineJapan <kinejapan at mailman.yale.edu>
> *Sent:* Thursday, June 20, 2024 11:40 AM
> *To:* Alexander Fee <adfee96 at gmail.com>
> *Cc:* quentin turnour <unkleque at yahoo.com.au>; Japanese Cinema Discussion
> Forum <kinejapan at mailman.yale.edu>
> *Subject:* Re: [KineJapan] ORTHOchromatic SHIN GODZILLA?
>
> Thanks for clarifying this Alexander. Hope the NY screening goes well.
> Unlikely to see it here. -ONE did surprisingly well here but on the lure of
> the GODZILLA franchise brand; the suburban Sydney multiplex audience I saw
> it with was bewildered by the 1950s Japanese setting and political and
> historical references, and couldn't wait for the film to get on with the
> monster-mashing. Whereas my sentiments were in inverse proportion.
>
> You've got me thinking about the state of 35mm filmmaking in Japan.
>
> Post the Digitial Intermediate's emergence in the mid-2000s, but pre-the
> DCP mass rollout in 2012, a common feature film workflow globally was 35mm
> camera neg > digital scanning > DI > filmrecorder out to 35mm release
> print. DCP changed the last step, but 35mm negative originated productions
> are still more common than realised (I saw two features straight from
> Cannes at my local film festival last night, one Indian, one Portuguese;
> both had been shot on 35mm, speckle and all). That being said, even Nolan
> isn't making film intermediates, no matter his allegiance to shooting and
> releasing on film.
>
> Remembering that Yamada Yoji was still shooting film (I believe that's the
> case also for last year's KONNICHITA, KASAN?)  a quick google found an
> article from 2019 about Tokyo Laboratory Tokyo Genz?sho still at work
> (but looking pretty 1980s from the photos) pre-COVID: Tokyo Laboratory
> remains a stalwart champion of analog film production
> <https://www.kodak.com/en/motion/blog-post/tokyo-laboratory/>. But the
> Anime News reported late last year that current owners Toho were closing
> it, mentioning that Toho was going to form a new restoration lab along the
> lines of US studios like Sony and Universal:  Tokyo Laboratory Shuts Down
> in November, Works to Return Film Originals
> <https://www.animenewsnetwork.com/news/2023-09-09/tokyo-laboratory-shuts-down-in-november-works-to-return-film-originals/.202144>.
> This Reddit thread follow-up reports that there has been the usual
> nightmare of an old film film lab suddenly closing, with stored but
> orphaned negs potentially getting dumped because clients can't be located:
> https://www.reddit.com/r/DataHoarder/comments/16e0lk3/tokyo_lab_which_archived_many_old_anime_since/
>
> The Japan Times also ran a piece late last year on surviving 35mm
> mini-theatres, with a focus on The Royal in Gifu, north of Nagoya, the last
> surviving 35mm-only commercial cinema, now just showing Showa-era films: Mini-theater
> showing 35mm films is struggling to survive
> <https://www.japantimes.co.jp/news/2023/12/18/japan/society/mini-theaters-struggle/>.
> It seems to still be in business. Google says The Royal is currently
> running sessions of Segawa Masaharu's 1978 KIGEKI YAKUSHA-TACHI: SOOPER TO
> GABBLE,  a film featuring comedian Tamori I know nothing about, beyond
> this Tiktok fan video here: ???????????????? ???????????????1978??
> <https://www.youtube.com/watch?v=UCGNdAtABXs>.
>
> QT.
>
>
>
>
>
> On Thursday, 20 June 2024 at 11:01:29 pm AEST, Alexander Fee <
> adfee96 at gmail.com> wrote:
>
>
> Hi Quentin,
>
> Of course! I should also add, as I realize it's not clear, that I'm the
> film programmer for Japan Society. I'd guess this is best seen as a digital
> emulation of orthochromatic. It would require a lot of funding to do the
> orthochromatic photochemically, so while IMAGICA may have the ability, it's
> ultimately a question of whether Toho would see the value in these analog
> processes - something I'd be unsure of. It's very rare nowadays to see any
> contemporary Japanese films shot on 35mm, much less have new 35mm prints
> struck unfortunately. I believe ORTHO has only been distributed digitally.
>
> Best,
> Alexander
>
>
> ???
> *Alexander Fee*
> *adfee96 at gmail.com <adfee96 at gmail.com>* | *513.473.2232 *|
> alexanderfee.com
>
>
> On Wed, Jun 19, 2024 at 10:00?PM quentin turnour <unkleque at yahoo.com.au>
> wrote:
>
> Alexander - thank you so very much. You've satisfied my curiosity.
>
> The NY Japan Society screening is on DCP, so there has to have been a
> Digital Intermediate made. And for all the talk of 'film' in your
> translation, my guess is that the whole thing was done in the digital post-
> realm, rather than any optical-chemical lab work being involved. But
> Japanese film labs still like to experiment (someone from Imagica is always
> appearing at film archiving conferences with a paper on their latest
> research in film colour restoration science that's hard to follow but
> rewarding if you can). So I wonder if there was any release of the ORTHO
> version in Japan on 35mm film, although I have no idea how many commercial
> venues there can still run 35mm. And if so, whether the release screening
> print stock was actually orthochromatic? That would be fascinating,
> although the same(-ish) effect can be achieved in the Digital Intermediate,
> then laser film recorder-outputted to a normal modern 35mm stock.
>
> Thanks also for alerting me to a MINUS ONE MINUS COLOR version of
> Yamazaki's -ONE. I had no idea, but the Wiki article on the film now
> devotes a full section to its January release in Japan,
> https://en.wikipedia.org/w/index.php?title=Godzilla_Minus_One&action=edit?ion=18
> <https://en.wikipedia.org/w/index.php?title=Godzilla_Minus_One&action=edit&section=18>
> with a reference to discussion at one point about integrating colour and
> B&W in the style of Kuriosawa's TENGOKU TO JIGOKU*.*
>
> QT.
>
> On Thursday, 20 June 2024 at 01:54:33 am AEST, Alexander Fee via KineJapan
> <kinejapan at mailman.yale.edu> wrote:
>
>
> Hi Quentin,
>
> *Orthochromatic* was originally released in advance of *Minus One*'s
> release (it can be surmised that the *Minus One Minus Color* version came
> as a result of *Ortho*). *Minus One* director Yamazaki was asked to
> select his favorite Godzilla films and present them as a leadup to *Minus
> One*. When Anno was asked to attend the screening of *Shin Godzilla *(also
> selected by Yamazaki), he proposed this Ortho version. The actual process
> they undertook is not entirely clear, but the project was overseen by
> Shinji Higuchi and Katsuro Onoue. The Japanese announcement of Ortho
> described orthochromatic as (this is a DeepL translation FYI) "a type of
> black-and-white film with a characteristic of not being sensitive to
> reddish colors. It is characterized by a heavier face tone than
> panchromatic film, the current mainstream monochrome film, and we aimed for
> this texture and incorporated it into the title." (
> https://eiga.com/news/20231003/9/).
>
> Best,
> Alexander
>
> ???
> *Alexander Fee*
> *adfee96 at gmail.com <adfee96 at gmail.com>* | *513.473.2232 *|
> alexanderfee.com
>
>
> On Wed, Jun 19, 2024 at 7:31?AM quentin turnour via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> Just seen the NY Japan Society announce that they will internationally
> premiere the 'ORTHOchromatic' version of the 2016 franchise's
> re-re-re-re-re-...boot here: Shin Godzilla: Orthochromatic (Encore)
> <https://japansociety.org/events/shin-godzilla-orthochromatic-encore/>
>
> Shin Godzilla: Orthochromatic (Encore)
>
> Hideaki Anno and Shinji Higuchi?s 21st century masterpiece is reborn with
> this stunning black-and-white version....
> <https://japansociety.org/events/shin-godzilla-orthochromatic-encore/>
>
>
>
> Does anyone know it the rationale for this - beyond mere novelty and a
> market ploy / excuse to re-release - has been explained in the Japanese
> press?
>
> Japanese film labs have a great tradition of pioneering creative
> optical-chemical film processes. Bleach-bypassing is just one. So I though
> for a moment that this might be the revival of a past process used on a
> Toho release in the past. There's also the argument Dr. George Miller made
> when he re-released FURY ROAD in grey scale; because that's how he saw the
> film in his head, in development. But B&W FURY ROAD emphasised the gleaming
> silvers and chiaroscuro.
>
> This is not so explicable. If it reflects an old-school film process you'd
> hope for a Christopher Nolan-style 70mm film re-release, which is back in
> fashion in the US with VistaVision and similar 1950s big screen format
> originals getting restorations (like the new version of THE SEARCHERS). But
> this is appearing only on DCP.
>
> Obvious, also SHIN GODZILLA is a contemporary-set film, and stands out in
> the franchise for playing in the field of post 3/11 Japanese social
> commentary. Surely a 1950s B&W Tohoscope sort of retro feel would be better
> applied to the newer, overtly retro GODZILLA -1?
>
> Finally and weirdest of all: Is this really Orthochromatic?
> English-language marketing is being coy about what this actually means, but
> silent film- and early photography historians will know its the old,
> pre-1922 B&W film process, which basically could only see blue and green colours
> in the spectrum, and explaining why pre-mid 1920s silent films are often
> drab, often have dense daylight shadows, little detail in clear blue sky,
> and coal-black reds. (This Wiki on this does a better job explaining this
> than me (and I like that the photo they use to illustrate what it did to
> Union Jacks features the famous Australian explorer Douglas Mawson): Orthochromasia
> - Wikipedia <https://en.wikipedia.org/wiki/Orthochromasia>. This other
> Wiki explains why panchromatic film can see the whole spectrum: Panchromatic
> film - Wikipedia <https://en.wikipedia.org/wiki/Panchromatic_film>.
>
> Panchromatic film - Wikipedia
>
> A panchromatic emulsion renders a realistic reproduction of a scene as it
> appears to the human eye, although wit...
> <https://en.wikipedia.org/wiki/Panchromatic_film>
>
>
>
> Orthochromasia - Wikipedia
>
> In spectral terms, orthochromasia refers to maintaining the position of
> spectral peaks, while metachromasia refe...
> <https://en.wikipedia.org/wiki/Orthochromasia>
>
>
>
> So are Toho merely playing with an English loan word they hope no one in
> Japan actually understands? Is this meta-play with some corner of GODZILLIA
> or Toho history? Does the ortho, missing colour-specturm aesthetic make
> this a movie-going experience I need to have (per this article, which
> acknowledges ortho's charms using modern stocks: Orthochromatic vs
> Panchromatic film - A Photo Comparison
> <https://thedarkroom.com/orthochromatic-vs-panchromatic-film-a-photo-comparison/>
>
> Orthochromatic vs Panchromatic film - A Photo Comparison
>
> Trevor Lee
>
> This history of B&W film as it evolves from Orthochromatic to Panchromatic
>
> <https://thedarkroom.com/orthochromatic-vs-panchromatic-film-a-photo-comparison/>
>
>
> )?
>
> Or is it all just hype?
>
> Quentin Turnour
> National Archives of Australia / Cinema Reborn Film Festival, Sydney.
>
>
> _______________________________________________
> 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 echoi at movingimage.org  Thu Jun 20 12:56:15 2024
From: echoi at movingimage.org (Edo Choi)
Date: Thu, 20 Jun 2024 16:56:15 +0000
Subject: [KineJapan] ORTHOchromatic SHIN GODZILLA?
In-Reply-To: <CANoSnpCckH3Gx4f=roB5jgoAgjDBQX7LEzYP2S3=MSi7zEb8Tg@mail.gmail.com>
References: <356138712.7662623.1718796675919.ref@mail.yahoo.com>
 <356138712.7662623.1718796675919@mail.yahoo.com>
 <CAKPd27gwkn79z_FJvG7v4hDsoBZQmfgjW_-qqEDVS0U_FpJbfQ@mail.gmail.com>
 <1807623772.8024318.1718848817853@mail.yahoo.com>
 <CAKPd27jr7zb3XASS1Zh8zgFr+QWneC=j7JVuQWkq34W_5cmCqg@mail.gmail.com>
 <1292124815.8229876.1718898047133@mail.yahoo.com>
 <BY3PR15MB50745E61499781B0F806CD94B5C82@BY3PR15MB5074.namprd15.prod.outlook.com>
 <CANoSnpCckH3Gx4f=roB5jgoAgjDBQX7LEzYP2S3=MSi7zEb8Tg@mail.gmail.com>
Message-ID: <BY3PR15MB50744972DE0DA9412A8BE135B5C82@BY3PR15MB5074.namprd15.prod.outlook.com>

Jennifer Lame cut in an Avid. Then they conformed the negative.

Edo

---
Edo Choi
Associate Curator of Film & First Look Senior Programmer
Museum of the Moving Image
36-01 35th Avenue
Astoria, NY 11106
Office: 718-777-6826, Mobile: 917-921-0565
________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Markus Nornes via KineJapan <kinejapan at mailman.yale.edu>
Sent: Thursday, June 20, 2024 12:53 PM
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Cc: Markus Nornes <nornes at umich.edu>
Subject: Re: [KineJapan] ORTHOchromatic SHIN GODZILLA?

Did he cut on film, or edit digitally and cut the negative or what? Very curious.

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/
Department of Film, Television and Media
6348 North Quad
105 S. State Street
Ann Arbor, MI 48109-1285



On Thu, Jun 20, 2024 at 10:50?AM Edo Choi via KineJapan <kinejapan at mailman.yale.edu<mailto:kinejapan at mailman.yale.edu>> wrote:
Not true with respect to Nolan. Release prints for IMAX, 35mm, and 70mm of OPPENHEIMER were graded photochemically: https://filmmakermagazine.com/123961-interview-hoyte-van-hoytema-oppenheimer/. The DCPs of course involved a DI process. He's one of the few directors who can still basically demand this workflow as part of his contract and get it.

Edo

---
Edo Choi
Associate Curator of Film & First Look Senior Programmer
Museum of the Moving Image
36-01 35th Avenue
Astoria, NY 11106
Office: 718-777-6826, Mobile: 917-921-0565

[cid:ii_19036912b5ce4e033a51]
Edo Choi????
Associate Curator of Film  & First Look Senior Programmer
[cid:ii_19036912b5c7467a9192]
718 777 6826<tel:718%20777%206826>
[cid:ii_19036912b5cfac0b4123]
917 921 0565<tel:917%20921%200565>
36?01 35 Ave    ,
Astoria
,
NY
11106
movingimage.org<https://movingimage.org/>
Follow us:
[cid:ii_19036912b5c1400df114]<https://www.facebook.com/MovingImageMuseum>
[cid:ii_19036912b5c7de735185]<https://twitter.com/MovingImageNYC>
[cid:ii_19036912b5c978eaab86]<https://www.instagram.com/movingimagenyc/>


v.072922
________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu<mailto:kinejapan-bounces at mailman.yale.edu>> on behalf of quentin turnour via KineJapan <kinejapan at mailman.yale.edu<mailto:kinejapan at mailman.yale.edu>>
Sent: Thursday, June 20, 2024 11:40 AM
To: Alexander Fee <adfee96 at gmail.com<mailto:adfee96 at gmail.com>>
Cc: quentin turnour <unkleque at yahoo.com.au<mailto:unkleque at yahoo.com.au>>; Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu<mailto:kinejapan at mailman.yale.edu>>
Subject: Re: [KineJapan] ORTHOchromatic SHIN GODZILLA?

Thanks for clarifying this Alexander. Hope the NY screening goes well. Unlikely to see it here. -ONE did surprisingly well here but on the lure of the GODZILLA franchise brand; the suburban Sydney multiplex audience I saw it with was bewildered by the 1950s Japanese setting and political and historical references, and couldn't wait for the film to get on with the monster-mashing. Whereas my sentiments were in inverse proportion.

You've got me thinking about the state of 35mm filmmaking in Japan.

Post the Digitial Intermediate's emergence in the mid-2000s, but pre-the DCP mass rollout in 2012, a common feature film workflow globally was 35mm camera neg > digital scanning > DI > filmrecorder out to 35mm release print. DCP changed the last step, but 35mm negative originated productions are still more common than realised (I saw two features straight from Cannes at my local film festival last night, one Indian, one Portuguese; both had been shot on 35mm, speckle and all). That being said, even Nolan isn't making film intermediates, no matter his allegiance to shooting and releasing on film.

Remembering that Yamada Yoji was still shooting film (I believe that's the case also for last year's KONNICHITA, KASAN?)  a quick google found an article from 2019 about Tokyo Laboratory Tokyo Genz?sho still at work (but looking pretty 1980s from the photos) pre-COVID: Tokyo Laboratory remains a stalwart champion of analog film production<https://www.kodak.com/en/motion/blog-post/tokyo-laboratory/>. But the Anime News reported late last year that current owners Toho were closing it, mentioning that Toho was going to form a new restoration lab along the lines of US studios like Sony and Universal:  Tokyo Laboratory Shuts Down in November, Works to Return Film Originals<https://www.animenewsnetwork.com/news/2023-09-09/tokyo-laboratory-shuts-down-in-november-works-to-return-film-originals/.202144>. This Reddit thread follow-up reports that there has been the usual nightmare of an old film film lab suddenly closing, with stored but orphaned negs potentially getting dumped because clients can't be located: https://www.reddit.com/r/DataHoarder/comments/16e0lk3/tokyo_lab_which_archived_many_old_anime_since/

The Japan Times also ran a piece late last year on surviving 35mm mini-theatres, with a focus on The Royal in Gifu, north of Nagoya, the last surviving 35mm-only commercial cinema, now just showing Showa-era films: Mini-theater showing 35mm films is struggling to survive<https://www.japantimes.co.jp/news/2023/12/18/japan/society/mini-theaters-struggle/>. It seems to still be in business. Google says The Royal is currently running sessions of Segawa Masaharu's 1978 KIGEKI YAKUSHA-TACHI: SOOPER TO GABBLE,  a film featuring comedian Tamori I know nothing about, beyond this Tiktok fan video here: ???????????????? ???????????????1978??<https://www.youtube.com/watch?v=UCGNdAtABXs>.

QT.





On Thursday, 20 June 2024 at 11:01:29 pm AEST, Alexander Fee <adfee96 at gmail.com<mailto:adfee96 at gmail.com>> wrote:


Hi Quentin,

Of course! I should also add, as I realize it's not clear, that I'm the film programmer for Japan Society. I'd guess this is best seen as a digital emulation of orthochromatic. It would require a lot of funding to do the orthochromatic photochemically, so while IMAGICA may have the ability, it's ultimately a question of whether Toho would see the value in these analog processes - something I'd be unsure of. It's very rare nowadays to see any contemporary Japanese films shot on 35mm, much less have new 35mm prints struck unfortunately. I believe ORTHO has only been distributed digitally.

Best,
Alexander


???
Alexander Fee
adfee96 at gmail.com<mailto:adfee96 at gmail.com> | 513.473.2232 | alexanderfee.com<http://alexanderfee.com>


On Wed, Jun 19, 2024 at 10:00?PM quentin turnour <unkleque at yahoo.com.au<mailto:unkleque at yahoo.com.au>> wrote:
Alexander - thank you so very much. You've satisfied my curiosity.

The NY Japan Society screening is on DCP, so there has to have been a Digital Intermediate made. And for all the talk of 'film' in your translation, my guess is that the whole thing was done in the digital post- realm, rather than any optical-chemical lab work being involved. But Japanese film labs still like to experiment (someone from Imagica is always appearing at film archiving conferences with a paper on their latest research in film colour restoration science that's hard to follow but rewarding if you can). So I wonder if there was any release of the ORTHO version in Japan on 35mm film, although I have no idea how many commercial venues there can still run 35mm. And if so, whether the release screening print stock was actually orthochromatic? That would be fascinating, although the same(-ish) effect can be achieved in the Digital Intermediate, then laser film recorder-outputted to a normal modern 35mm stock.

Thanks also for alerting me to a MINUS ONE MINUS COLOR version of Yamazaki's -ONE. I had no idea, but the Wiki article on the film now devotes a full section to its January release in Japan, https://en.wikipedia.org/w/index.php?title=Godzilla_Minus_One&action=edit?ion=18<https://en.wikipedia.org/w/index.php?title=Godzilla_Minus_One&action=edit&section=18> with a reference to discussion at one point about integrating colour and B&W in the style of Kuriosawa's TENGOKU TO JIGOKU.

QT.

On Thursday, 20 June 2024 at 01:54:33 am AEST, Alexander Fee via KineJapan <kinejapan at mailman.yale.edu<mailto:kinejapan at mailman.yale.edu>> wrote:


Hi Quentin,

Orthochromatic was originally released in advance of Minus One's release (it can be surmised that the Minus One Minus Color version came as a result of Ortho). Minus One director Yamazaki was asked to select his favorite Godzilla films and present them as a leadup to Minus One. When Anno was asked to attend the screening of Shin Godzilla (also selected by Yamazaki), he proposed this Ortho version. The actual process they undertook is not entirely clear, but the project was overseen by Shinji Higuchi and Katsuro Onoue. The Japanese announcement of Ortho described orthochromatic as (this is a DeepL translation FYI) "a type of black-and-white film with a characteristic of not being sensitive to reddish colors. It is characterized by a heavier face tone than panchromatic film, the current mainstream monochrome film, and we aimed for this texture and incorporated it into the title." (https://eiga.com/news/20231003/9/).

Best,
Alexander

???
Alexander Fee
adfee96 at gmail.com<mailto:adfee96 at gmail.com> | 513.473.2232 | alexanderfee.com<http://alexanderfee.com>


On Wed, Jun 19, 2024 at 7:31?AM quentin turnour via KineJapan <kinejapan at mailman.yale.edu<mailto:kinejapan at mailman.yale.edu>> wrote:
Just seen the NY Japan Society announce that they will internationally premiere the 'ORTHOchromatic' version of the 2016 franchise's re-re-re-re-re-...boot here: Shin Godzilla: Orthochromatic (Encore)<https://japansociety.org/events/shin-godzilla-orthochromatic-encore/>

<https://japansociety.org/events/shin-godzilla-orthochromatic-encore/>
Shin Godzilla: Orthochromatic (Encore)

Hideaki Anno and Shinji Higuchi?s 21st century masterpiece is reborn with this stunning black-and-white version....



Does anyone know it the rationale for this - beyond mere novelty and a market ploy / excuse to re-release - has been explained in the Japanese press?

Japanese film labs have a great tradition of pioneering creative optical-chemical film processes. Bleach-bypassing is just one. So I though for a moment that this might be the revival of a past process used on a Toho release in the past. There's also the argument Dr. George Miller made when he re-released FURY ROAD in grey scale; because that's how he saw the film in his head, in development. But B&W FURY ROAD emphasised the gleaming silvers and chiaroscuro.

This is not so explicable. If it reflects an old-school film process you'd hope for a Christopher Nolan-style 70mm film re-release, which is back in fashion in the US with VistaVision and similar 1950s big screen format originals getting restorations (like the new version of THE SEARCHERS). But this is appearing only on DCP.

Obvious, also SHIN GODZILLA is a contemporary-set film, and stands out in the franchise for playing in the field of post 3/11 Japanese social commentary. Surely a 1950s B&W Tohoscope sort of retro feel would be better applied to the newer, overtly retro GODZILLA -1?

Finally and weirdest of all: Is this really Orthochromatic? English-language marketing is being coy about what this actually means, but silent film- and early photography historians will know its the old, pre-1922 B&W film process, which basically could only see blue and green colours in the spectrum, and explaining why pre-mid 1920s silent films are often drab, often have dense daylight shadows, little detail in clear blue sky, and coal-black reds. (This Wiki on this does a better job explaining this than me (and I like that the photo they use to illustrate what it did to Union Jacks features the famous Australian explorer Douglas Mawson): Orthochromasia - Wikipedia<https://en.wikipedia.org/wiki/Orthochromasia>. This other Wiki explains why panchromatic film can see the whole spectrum: Panchromatic film - Wikipedia<https://en.wikipedia.org/wiki/Panchromatic_film>.

<https://en.wikipedia.org/wiki/Panchromatic_film>
Panchromatic film - Wikipedia

A panchromatic emulsion renders a realistic reproduction of a scene as it appears to the human eye, although wit...



<https://en.wikipedia.org/wiki/Orthochromasia>
Orthochromasia - Wikipedia

In spectral terms, orthochromasia refers to maintaining the position of spectral peaks, while metachromasia refe...



So are Toho merely playing with an English loan word they hope no one in Japan actually understands? Is this meta-play with some corner of GODZILLIA or Toho history? Does the ortho, missing colour-specturm aesthetic make this a movie-going experience I need to have (per this article, which acknowledges ortho's charms using modern stocks: Orthochromatic vs Panchromatic film - A Photo Comparison<https://thedarkroom.com/orthochromatic-vs-panchromatic-film-a-photo-comparison/>

<https://thedarkroom.com/orthochromatic-vs-panchromatic-film-a-photo-comparison/>
Orthochromatic vs Panchromatic film - A Photo Comparison

Trevor Lee

This history of B&W film as it evolves from Orthochromatic to Panchromatic


)?

Or is it all just hype?

Quentin Turnour
National Archives of Australia / Cinema Reborn Film Festival, Sydney.


_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu<mailto:KineJapan at mailman.yale.edu>
https://mailman.yale.edu/mailman/listinfo/kinejapan
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu<mailto:KineJapan at mailman.yale.edu>
https://mailman.yale.edu/mailman/listinfo/kinejapan
_______________________________________________
KineJapan mailing list
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https://mailman.yale.edu/mailman/listinfo/kinejapan
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From annekmcknight at gmail.com  Thu Jun 20 17:59:53 2024
From: annekmcknight at gmail.com (Anne)
Date: Thu, 20 Jun 2024 14:59:53 -0700
Subject: [KineJapan] Visiting position in Japanese lit/film at UCR
Message-ID: <FB808CCF-04E8-406B-B412-F520FEC2604F@gmail.com>

Hi all,

UCR has, again this year, a one-year position available.  There is probably some flexibility in course offerings for Fall and Winter. If you could pass it along to any networks that might find interested folks, it would be great.
Please let me know if you have any questions. 

Thanks!

Anne
Link to job ad: https://aprecruit.ucr.edu/JPF01932	
 
~~~~~~~~~
UC Riverside is seeking a 5/6 time Visiting Assistant Professor to teach in the Department of Comparative Literature and Languages, in the Japanese program in 2024-25. 
 
We would very much appreciate if you could pass this notice and the enclosed attachment/link detailing the position on to recent grads, as well as any grads who may have degree in hand by Fall quarter, or other colleagues who might have an interest in applying.
 
The job would consist of 5 courses per year (1 in Fall, and 2 each in Winter and Spring quarters)?4 undergrad classes, and one grad class that can be tailored to the instructor?s interests and scholarship. The salary comes with full benefits, and is based on 100% annual salary of $74,600, or approximately $12,433 per course (pending final budget approval and sufficient enrollment). UCR has a great student body, bright and very receptive, and the TA support is wonderful, as well. The first day of the Fall quarter is September 23, and authorization to work in the US by the first day of instruction is required.
 
The full job ad may be seen at https://aprecruit.ucr.edu/JPF01932. 
Any questions can be addressed to Prof. Anne McKnight at amcknigh at ucr.edu <mailto:amcknigh at ucr.edu>. Applications received by July 10 will get first consideration.
 
Thanks so much for passing along info about this position to anyone in your networks who might be interested. 
 
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From macyroger at yahoo.co.uk  Fri Jun 21 06:11:20 2024
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Fri, 21 Jun 2024 10:11:20 +0000 (UTC)
Subject: [KineJapan] Docs at Nippon Connection
References: <715536642.13960507.1718964680168.ref@mail.yahoo.com>
Message-ID: <715536642.13960507.1718964680168@mail.yahoo.com>


Noone has said here anything on this year's Nippon Connection. I'vealso been pretty tied up but let me try and say something on a coupleof films before I hit Il Cinema Ritrovato. I did already mentionbefore a couple of fiction films shared with FEFF.

Theoutstanding documentary for me was Shunga:The Lost Japanese Eroticaby Hirata Junko. Its core format was a classic art documentary,taking a historical narrative. But the examination of individualworks, closing up on details and relating that to the wholecomposition and to context was more than well done. There weresuggestions that the idea came out of the exhibition at the BritishMuseum a few years back but the film seemed aimed at a wideraudience, particularly in Japan. Indeed the Japanese title is just???,and the narrative of the film was that shunga was hidden from modernview in Japan ? I wouldn't say that for the West that I know. So,to counter that, we had on-camera voices, female and Japanese,relating sympathetically to the sensations and emotions portrayed.

The quality of the images wasoutstanding and well worth seeing on a large screen. But what reallybrought the film alive for me was the music. It would be an easy trapto use various kinds of music with misleading connotations but,instead we had an extended original composition by Hara Marihiko,played on close-miked traditional instruments that seemed to reallyrespond to the art and the narrative.

As part of promoting modern femaleacceptance, there was the usual reference to Edo-era brides bringingshunga as part of their trousseau. I could quibble and mention thatthere was no reference to the power-difference, backed by agedifference in the genders portrayed , but that needs to be someoneelse's film. It did look at some same-sex shunga.

A documentary I was much lesscomfortable with was 'The Making of a Japanese', by Ema RyanYamazaki. One could only admire the dedication and patience infollowing a Year 1 and a Year 6 class through a a year in theirprimary school in western Tokyo. Her editing, and presumably heroriginal capture follow very much to the title that Yamazaki haschosen. So, we see only situations and lessons that promote groupconformity. The teachers are shown as hard-worked without anysuggestion of the marking workload. The delivery of a highly definedand even highly-scheduled curriculum and the mind-numbing repetitionare absences of Yamazaki's choice. But the primary objective ofprimary education according to many educators ? the teaching of howto learn ? is an absence in Japan that Yamazaki portrays withouteven mentioning it.

In the intro and Q&A afterwards,Yamazaki repeated many times her claim that the trains would not runon time in Japan without the teaching of social conformity that sheportrayed. It is a full century now from when Fascism was promoted as'the trains are running on time in Italy'. I don't think Yamazaki'sclaim is true. Nor do I think that the cause of German trains' recentlack of punctuality is a lack of fascism. The 'English disease' issomething else.

I brought up the contrast with thefilms of Hani Susumu, where non-conformity was more tolerated andchildren were shown to be encouraged in individual self-expression.In contrast, the only 'art' I saw in Yamazaki's film was the communalslaughter of 'Ode to Joy' as a lesson in machine-like socialconformity. I guess Hani and his co-authors were promoting ideas thatstill were not very widespread but, if Yamazaki's portrayal isbroadly true, Hani's project failed. Bizarrely though, Yamazakiconsidered the education shown by Hani as more authoritarian.

'The Making of a Japanese' won theaudience prize for documentaries at Nippon Connection.

Roger
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From eija at helsinkicineaasia.fi  Fri Jun 21 11:05:10 2024
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Fri, 21 Jun 2024 18:05:10 +0300
Subject: [KineJapan] Docs at Nippon Connection
In-Reply-To: <715536642.13960507.1718964680168@mail.yahoo.com>
References: <715536642.13960507.1718964680168.ref@mail.yahoo.com>
 <715536642.13960507.1718964680168@mail.yahoo.com>
Message-ID: <CA+FavwNCngETi7=uzRryEK34ByU3S1uey+sgwQ3C3HiV7FJGFQ@mail.gmail.com>

Just to add to Roger's writing on 'The Making of a Japanese', it has a
Finnish co-producer, and the music was composed and performed by a Finnish
musician. The film has gained a lot of attention amongst watchers here in
Finland, and the distributor has arranged numerous screenings for school
teachers, who then have discussion on the film.

Eija Niskanen
Helsinki

pe 21. kes?k. 2024 klo 13.11 Roger Macy via KineJapan (
kinejapan at mailman.yale.edu) kirjoitti:

> No one has said here anything on this year's Nippon Connection. I've also
> been pretty tied up but let me try and say something on a couple of films
> before I hit Il Cinema Ritrovato. I did already mention before a couple of
> fiction films shared with FEFF.
>
> The outstanding documentary for me was *Shunga: The Lost Japanese Erotica*
> by Hirata Junko. Its core format was a classic art documentary, taking a
> historical narrative. But the examination of individual works, closing up
> on details and relating that to the whole composition and to context was
> more than well done. There were suggestions that the idea came out of the
> exhibition at the British Museum a few years back but the film seemed aimed
> at a wider audience, particularly in Japan. Indeed the Japanese title is
> just ??? , and the narrative of the film was that shunga was hidden from
> modern view in Japan ? I wouldn't say that for the West that I know. So, to
> counter that, we had on-camera voices, female and Japanese, relating
> sympathetically to the sensations and emotions portrayed.
>
> The quality of the images was outstanding and well worth seeing on a large
> screen. But what really brought the film alive for me was the music. It
> would be an easy trap to use various kinds of music with misleading
> connotations but, instead we had an extended original composition by Hara
> Marihiko, played on close-miked traditional instruments that seemed to
> really respond to the art and the narrative.
>
> As part of promoting modern female acceptance, there was the usual
> reference to Edo-era brides bringing shunga as part of their trousseau. I
> could quibble and mention that there was no reference to the
> power-difference, backed by age difference in the genders portrayed , but
> that needs to be someone else's film. It did look at some same-sex shunga.
>
> A documentary I was much less comfortable with was 'The Making of a
> Japanese', by Ema Ryan Yamazaki. One could only admire the dedication and
> patience in following a Year 1 and a Year 6 class through a a year in their
> primary school in western Tokyo. Her editing, and presumably her original
> capture follow very much to the title that Yamazaki has chosen. So, we see
> only situations and lessons that promote group conformity. The teachers are
> shown as hard-worked without any suggestion of the marking workload. The
> delivery of a highly defined and even highly-scheduled curriculum and the
> mind-numbing repetition are absences of Yamazaki's choice. But the primary
> objective of primary education according to many educators ? the teaching
> of how to learn ? is an absence in Japan that Yamazaki portrays without
> even mentioning it.
>
> In the intro and Q&A afterwards, Yamazaki repeated many times her claim
> that the trains would not run on time in Japan without the teaching of
> social conformity that she portrayed. It is a full century now from when
> Fascism was promoted as 'the trains are running on time in Italy'. I don't
> think Yamazaki's claim is true. Nor do I think that the cause of German
> trains' recent lack of punctuality is a lack of fascism. The 'English
> disease' is something else.
>
> I brought up the contrast with the films of Hani Susumu, where
> non-conformity was more tolerated and children were shown to be encouraged
> in individual self-expression. In contrast, the only 'art' I saw in
> Yamazaki's film was the communal slaughter of 'Ode to Joy' as a lesson in
> machine-like social conformity. I guess Hani and his co-authors were
> promoting ideas that still were not very widespread but, if Yamazaki's
> portrayal is broadly true, Hani's project failed. Bizarrely though,
> Yamazaki considered the education shown by Hani as more authoritarian.
>
> 'The Making of a Japanese' won the audience prize for documentaries at
> Nippon Connection.
>
> Roger
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>


-- 
Eija Niskanen
Programming director
Helsinki Cine Aasia, March 14.-17.2024
www.helsinkicineaasia.fi
+358-50-355 3189
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From annekmcknight at gmail.com  Sun Jun 23 00:50:28 2024
From: annekmcknight at gmail.com (Anne McKnight)
Date: Sat, 22 Jun 2024 21:50:28 -0700
Subject: [KineJapan] Flaherty at Kazuno city, Akita
Message-ID: <7F2C987B-79DB-4921-9DF4-0EC23A3E0F9D@gmail.com>

Hi all,

I just saw that the Flaherty seminar  on doc films is having an umber of gatherings, in addition to the main one at the Thai Film Archive. There are local viewing/discussion groups in a lot of places, one of which is Kazuno city, in Akita. 
"Most gatherings will take place during the Seminar (June 27?July 2), with some asynchronous gatherings happening July 3?July 21. Please note that space is limited and not guaranteed.?

Curious if anyone knows what?s up in Akita, or is thinking of going?

Anne

https://theflaherty.org/2024-gatherings?
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From aaron.gerow at yale.edu  Sun Jun 23 00:58:43 2024
From: aaron.gerow at yale.edu (Aaron Gerow)
Date: Sun, 23 Jun 2024 13:58:43 +0900
Subject: [KineJapan] Flaherty at Kazuno city, Akita
In-Reply-To: <7F2C987B-79DB-4921-9DF4-0EC23A3E0F9D@gmail.com>
References: <7F2C987B-79DB-4921-9DF4-0EC23A3E0F9D@gmail.com>
Message-ID: <446B16F0-6619-4560-A409-98523E9A0705@yale.edu>

They also seem to list Tokyo as well.

Aaron

> 6/23/24 ??1:50?Anne McKnight via KineJapan <kinejapan at mailman.yale.edu>????:
> 
> Hi all,
> 
> I just saw that the Flaherty seminar  on doc films is having an umber of gatherings, in addition to the main one at the Thai Film Archive. There are local viewing/discussion groups in a lot of places, one of which is Kazuno city, in Akita. 
> "Most gatherings will take place during the Seminar (June 27?July 2), with some asynchronous gatherings happening July 3?July 21. Please note that space is limited and not guaranteed.?
> 
> Curious if anyone knows what?s up in Akita, or is thinking of going?
> 
> Anne
> 
> https://theflaherty.org/2024-gatherings_______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan

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From annekmcknight at gmail.com  Sun Jun 23 01:00:04 2024
From: annekmcknight at gmail.com (Anne McKnight)
Date: Sat, 22 Jun 2024 22:00:04 -0700
Subject: [KineJapan] Flaherty at Kazuno city, Akita
In-Reply-To: <446B16F0-6619-4560-A409-98523E9A0705@yale.edu>
References: <7F2C987B-79DB-4921-9DF4-0EC23A3E0F9D@gmail.com>
 <446B16F0-6619-4560-A409-98523E9A0705@yale.edu>
Message-ID: <910EB598-A8F5-49CA-9F3D-C8F46B983718@gmail.com>

Oh, that?s new, or I missed it?thanks!

> On Jun 22, 2024, at 9:58?PM, Aaron Gerow via KineJapan <kinejapan at mailman.yale.edu> wrote:
> 
> They also seem to list Tokyo as well.
> 
> Aaron
> 
>> 6/23/24 ??1:50?Anne McKnight via KineJapan <kinejapan at mailman.yale.edu>????:
>> 
>> Hi all,
>> 
>> I just saw that the Flaherty seminar  on doc films is having an umber of gatherings, in addition to the main one at the Thai Film Archive. There are local viewing/discussion groups in a lot of places, one of which is Kazuno city, in Akita. 
>> "Most gatherings will take place during the Seminar (June 27?July 2), with some asynchronous gatherings happening July 3?July 21. Please note that space is limited and not guaranteed.?
>> 
>> Curious if anyone knows what?s up in Akita, or is thinking of going?
>> 
>> Anne
>> 
>> https://theflaherty.org/2024-gatherings_______________________________________________
>> 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 matteo.boscarol at gmail.com  Mon Jun 24 06:30:54 2024
From: matteo.boscarol at gmail.com (matteoB)
Date: Mon, 24 Jun 2024 19:30:54 +0900
Subject: [KineJapan] =?utf-8?q?Sasaki_Sh=C5=8Dichir=C5=8D_has_passed_away?=
Message-ID: <CAO3jzpzxMe=sM+=hy+8_MaoBHZuLdnktsm-tn_NcJF_QtZEkqg@mail.gmail.com>

NHK director, author (with Suzuki Shiroyasu) of the incredible Dream Island
Girl (1974), and Kore'eda's friend and colleague Sasaki Sh?ichir? has
passed away at age 88.

Matteo
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From joanne.bernardi at rochester.edu  Fri Jun 28 23:59:44 2024
From: joanne.bernardi at rochester.edu (Bernardi, Joanne)
Date: Sat, 29 Jun 2024 03:59:44 +0000
Subject: [KineJapan] =?windows-1252?q?Your_Input_Needed=3A_Help_Improve_R?=
 =?windows-1252?q?e-envisioning_Japan=92s_Website_Navigation?=
Message-ID: <SN7PR07MB97219119FB1059BCF381966DE9D12@SN7PR07MB9721.namprd07.prod.outlook.com>

Dear Kinejapan colleagues,

My colleagues in Digital Scholarship at the University of Rochester and I invite you to participate in a brief (5 minutes!) test to help us improve the organization of the Re-envisioning Japan: Japan as Destination in 20th Century Visual and Material Culture (REJ) website, an online resource that provides access to digitized 8mm and 16mm films related to Japan.

If you?re not familiar with REJ, this multimedia digital archive was collaboratively designed for a heterogeneous collection of travel, educational, and entertainment ephemera documenting personal experiences, cross-cultural encounters, and changing representations of Japan and its place in the world in the early-to-mid-20th century. In addition to films available for streaming (exceptions are pending copyright clearance), the REJ collection includes printed material, postcards, sheet music (some with recordings commissioned for this project), and 3D objects.

Your feedback is extremely valuable, and participating is simple:


  *   What: A quick and easy test of our website?s navigation.
  *   Time: Approximately 5 minutes.
  *   How: Click the link below to start the test.


Start Test<https://dslab.digitalscholar.rochester.edu/rej-study/>

Thanks for helping us make our collection on the REJ website more accessible and easier to find for everyone!
Best wishes,
Joanne

--
Joanne Bernardi
Professor of Japanese and Visual & Cultural Studies
Director, Mellon Digital Humanities Fellowship/Meliora Digital & Interdisciplinary Graduate Program
University of Rochester
Dept. of Modern Languages and Cultures
Rochester NY 14627 USA
joanne.bernardi at rochester.edu<mailto:joanne.bernardi at rochester.edu>





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From sbow8120 at uni.sydney.edu.au  Sat Jun 29 03:02:57 2024
From: sbow8120 at uni.sydney.edu.au (Shayne Bowden Bowden)
Date: Sat, 29 Jun 2024 07:02:57 +0000
Subject: [KineJapan] New Adachi Masao Film in Production
Message-ID: <SY6PR01MB81377F78C0BE7777905F68CCD8D12@SY6PR01MB8137.ausprd01.prod.outlook.com>

Hi

Adachi Masao is in pre-production for his latest film, which is a biography of sorts about former East Asia Anti-Japan Armed Front member Kirishima Satoshi.  Tokyo-based writer, researcher and Adachi biographer, William Andrews has written an excellent article on what is known about the film so far. It can be found at his blog, Throw Out Your Books. https://throwoutyourbooks.wordpress.com/
An online announcement about the film from a few days ago can be found here. https://natalie.mu/eiga/news/579596

s

Shayne Bowden BA, MA (USYD)
--------------------------------------------
PhD Candidate
School of Languages and Cultures
Faculty of Arts and Social Sciences
The University of Sydney
--------------------------------------------

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