From Alastair.Phillips at warwick.ac.uk  Fri Mar  1 05:07:56 2024
From: Alastair.Phillips at warwick.ac.uk (Phillips, Alastair)
Date: Fri, 1 Mar 2024 10:07:56 +0000
Subject: [KineJapan] FILM SECESSION
In-Reply-To: <99311919335450bfcd1bc3ae5.9bfae48a1a.20240301044835.2cda8e91d6.e234c4da@mail202.sea71.mcsv.net>
References: <99311919335450bfcd1bc3ae5.9bfae48a1a.20240301044835.2cda8e91d6.e234c4da@mail202.sea71.mcsv.net>
Message-ID: <AM6PR01MB55097DF54ED57A96CA3CAEE3B05E2@AM6PR01MB5509.eurprd01.prod.exchangelabs.com>

The new streaming and online film exhibition site, Film Secession, has just uploaded a series of features on Hamaguchi Ryusuke and two films from the Kobe Planet Film Archive. See below.

Best wishes,

Alastair


Professor Alastair Phillips (he/him/his)

Film and Television Studies

School of Creative Arts, Performance and Visual Cultures

Faculty of Arts Building
University of Warwick
Coventry
CV4 7EQ
UK


https://warwick.ac.uk/fac/arts/scapvc/film/staff/phillips/






________________________________
From: Film Secession <filmsecession at filmsecession.com>
Sent: 01 March 2024 04:48
To: Phillips, Alastair <Alastair.Phillips at warwick.ac.uk>
Subject: New Cinema Releases!

Slow Old Man (Nobur? ?fuji, 1924) and Love's Catch Rope (Hiroshi Shimizu, 1925)

View this email in your browser<https://mailchi.mp/d384ea7d485c/new-cinema-release-16450982?e=9bfae48a1a>

[https://mcusercontent.com/99311919335450bfcd1bc3ae5/images/b8cbeffd-79f0-3f1c-467a-f230cd96f7c3.png]<https://filmsecession.us8.list-manage.com/track/click?u=99311919335450bfcd1bc3ae5&id=e217308722&e=9bfae48a1a>
[https://mcusercontent.com/99311919335450bfcd1bc3ae5/images/ff58a654-1f2e-ec77-810d-d1a042ea1fb2.jpg]<https://filmsecession.us8.list-manage.com/track/click?u=99311919335450bfcd1bc3ae5&id=61d3a57bd9&e=9bfae48a1a>
This Week?s New Films
SLOW OLD MAN<https://filmsecession.us8.list-manage.com/track/click?u=99311919335450bfcd1bc3ae5&id=66b628f6c0&e=9bfae48a1a>
<https://filmsecession.us8.list-manage.com/track/click?u=99311919335450bfcd1bc3ae5&id=098b754da5&e=9bfae48a1a>(Nobur? ?fuji, 1924)


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<https://filmsecession.us8.list-manage.com/track/click?u=99311919335450bfcd1bc3ae5&id=978053c458&e=9bfae48a1a>(Hiroshi Shimizu, 1925)


TREASURES FROM KOBE PLANET FILM ARCHIVE


?I spent three years in Kobe (2013-2016) working on Happy Hour, and the fact that the Kobe Planet Film Archive introduced me to the community was a big part of why I could integrate myself so easily into the Kobe community. I cannot express enough how important their cooperation was for the film's completion. I am now happy to hear that their treasured films will be screened by Film Secession, which will be a wonderful opportunity for the importance of their work to be known internationally.?

Ry?suke Hamaguchi


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Watch out for new Cinema releases every Thursday!

New Exhibitions added monthly.

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From nornes at umich.edu  Fri Mar  1 20:36:18 2024
From: nornes at umich.edu (Markus Nornes)
Date: Sat, 2 Mar 2024 10:36:18 +0900
Subject: [KineJapan] Rest in Peace, DB
Message-ID: <CANoSnpC5kekR9QxJHcheGn67tCzxNhkq6r2UgErDoOJ7aNrKiA@mail.gmail.com>

SCMS just announced the passing of David Bordwell (b. 1947). David was a
capacious, amazing scholar and incredibly generous. As a student, he
entered grad school just as the field was taking shape. Imagine how
exciting it was be studying a field that was nascent and just about
anything you write was the first word. That was at Iowa, where he studied
under Dudley Andrew who himself was just out of grad school and not too
much older. I wonder if David was Dudley's first grad student.

In the early 70s he became interested in Ozu, which was starting to
circulate on 16mm and even TV. Then he offered a course pretty much
centered on the director and rented all the prints he could get his hands
on. At the time, there were the books by Schrader and Richie, but those
didn't jive with what they were seeing. He told me he would go to the booth
between classes and grab stills off the prints. From this experience, his
student Ed Branigan wrote "The Space of Equinox Flower," and David and
Kristin Thompson wrote their seminal "Space and Narrative in the Films of
Ozu." I regularly teach this essay. It picks up all the things Richie,
Schrader and others were writing about, adds a whole lot more, and
describes it with a remarkable rigor that gives that essay a special
durability. It's also a useful essay for seeing the development of what
would later be called neo-formalism being thought out on the fly.

In the background there was defining baselines that filmmakers like Ozu
were working off of. The marker for that part of his research trajectory is
the monumental *Classical Hollywood Cinema*, co-written with Thompson and
Janet Staiger. That came out just when I started grad school, and it was an
astounding read that demonstrated to a lot of us how to be a serious film
scholar.

And just a few years after this he followed up with Ozu and the Poetics of
Cinema, which builds on his other writings at the time that explored norms
that a given filmmaker plays with in doing something different. And the Ozu
book is the prime example. The analyses in that film are unparalleled. Only
someone as sensitive David could recognize the breathtaking intricacy of
Ozu's work. It was criticized, even dismissed, by some for being thin on
history. But for someone who is not a Japan specialist, with no language
ability to crack the archive in the way they did with *CHC*, it's pretty
solid history. And the heart of the book is breathtaking. I learned so much
from that book, and still go back to it.

At some point, David told me he was shocked and delighted to find the Ozu
book in a New York used bookstore for over $400. I had no idea it was out
of print. Princeton refused to reprint it because of all the photographs,
which he found ridiculous and frustrating. So I reprinted it in digital
form?long before the idea of "open access"?through UM's CJS Pubs (and this
morning, I'm shocked to find that it's currently offline; I'll work on that
asap). He actually hired a student to make new prints of the 300+ images
and make what were then high res scans for the digital version. We actually
made a novel interface that turned the small images on the pages into
thumbnails that would call up the full res images. He was delighted with
this, and continued to be frustrated with university presses and did a
bunch of digital pubs and reprints in the future (eg., his Hong Kong cinema
book).

His interest in Japanese film was lifelong, and actually it began with
Mizoguchi. In fact, he attributes his decision to go to grad school to
study cinema to his serendipitous encounter with Sansho the Bailiff in
1969. His major contribution on Mizoguchi is in *Figures Traced in Light*
from 2008. He also published a nice supplement to the book on his blog:
http://www.davidbordwell.net/books/figures_intro.php?ss=1

If you haven't explored his blog, stop, take a moment and go down the
rabbit hole. You can go to the sidebar on the right and find links that
create discrete collections on Ozu, Mizoguchi and others. Many others:
Kore-eda, Miike, Naruse, Miyazaki, nado nado.

I learned A LOT from David Bordwell, but I especially learned how to look
at Ozu and Mizoguchi. He'll be missed.

Markus
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From mekerpan2 at gmail.com  Fri Mar  1 20:51:58 2024
From: mekerpan2 at gmail.com (Michael Kerpan)
Date: Fri, 1 Mar 2024 20:51:58 -0500
Subject: [KineJapan] Rest in Peace, DB
In-Reply-To: <CANoSnpC5kekR9QxJHcheGn67tCzxNhkq6r2UgErDoOJ7aNrKiA@mail.gmail.com>
References: <CANoSnpC5kekR9QxJHcheGn67tCzxNhkq6r2UgErDoOJ7aNrKiA@mail.gmail.com>
Message-ID: <CALt6FyoqySg5LsdnyB1DA12b6jKWAm6-Tx-0cpnesOGVZx6X0A@mail.gmail.com>

While I never met Prof. Bordwell in person, we corresponded with each other
from time to time.  (His last trip to Boston was a year or so before I
belatedly discovered Ozu). I always considered him my sensei when it came
to Japanese cinema (especially Ozu, of course).  I am quite sad -- it is
too early to have to say goodbye to him.

Michael Kerpan
Boston

On Fri, Mar 1, 2024 at 8:36?PM Markus Nornes via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> SCMS just announced the passing of David Bordwell (b. 1947). David was a
> capacious, amazing scholar and incredibly generous. As a student, he
> entered grad school just as the field was taking shape. Imagine how
> exciting it was be studying a field that was nascent and just about
> anything you write was the first word. That was at Iowa, where he studied
> under Dudley Andrew who himself was just out of grad school and not too
> much older. I wonder if David was Dudley's first grad student.
>
> In the early 70s he became interested in Ozu, which was starting to
> circulate on 16mm and even TV. Then he offered a course pretty much
> centered on the director and rented all the prints he could get his hands
> on. At the time, there were the books by Schrader and Richie, but those
> didn't jive with what they were seeing. He told me he would go to the booth
> between classes and grab stills off the prints. From this experience, his
> student Ed Branigan wrote "The Space of Equinox Flower," and David and
> Kristin Thompson wrote their seminal "Space and Narrative in the Films of
> Ozu." I regularly teach this essay. It picks up all the things Richie,
> Schrader and others were writing about, adds a whole lot more, and
> describes it with a remarkable rigor that gives that essay a special
> durability. It's also a useful essay for seeing the development of what
> would later be called neo-formalism being thought out on the fly.
>
> In the background there was defining baselines that filmmakers like Ozu
> were working off of. The marker for that part of his research trajectory is
> the monumental *Classical Hollywood Cinema*, co-written with Thompson and
> Janet Staiger. That came out just when I started grad school, and it was an
> astounding read that demonstrated to a lot of us how to be a serious film
> scholar.
>
> And just a few years after this he followed up with Ozu and the Poetics of
> Cinema, which builds on his other writings at the time that explored norms
> that a given filmmaker plays with in doing something different. And the Ozu
> book is the prime example. The analyses in that film are unparalleled. Only
> someone as sensitive David could recognize the breathtaking intricacy of
> Ozu's work. It was criticized, even dismissed, by some for being thin on
> history. But for someone who is not a Japan specialist, with no language
> ability to crack the archive in the way they did with *CHC*, it's pretty
> solid history. And the heart of the book is breathtaking. I learned so much
> from that book, and still go back to it.
>
> At some point, David told me he was shocked and delighted to find the Ozu
> book in a New York used bookstore for over $400. I had no idea it was out
> of print. Princeton refused to reprint it because of all the photographs,
> which he found ridiculous and frustrating. So I reprinted it in digital
> form?long before the idea of "open access"?through UM's CJS Pubs (and this
> morning, I'm shocked to find that it's currently offline; I'll work on that
> asap). He actually hired a student to make new prints of the 300+ images
> and make what were then high res scans for the digital version. We actually
> made a novel interface that turned the small images on the pages into
> thumbnails that would call up the full res images. He was delighted with
> this, and continued to be frustrated with university presses and did a
> bunch of digital pubs and reprints in the future (eg., his Hong Kong cinema
> book).
>
> His interest in Japanese film was lifelong, and actually it began with
> Mizoguchi. In fact, he attributes his decision to go to grad school to
> study cinema to his serendipitous encounter with Sansho the Bailiff in
> 1969. His major contribution on Mizoguchi is in *Figures Traced in Light*
> from 2008. He also published a nice supplement to the book on his blog:
> http://www.davidbordwell.net/books/figures_intro.php?ss=1
>
> If you haven't explored his blog, stop, take a moment and go down the
> rabbit hole. You can go to the sidebar on the right and find links that
> create discrete collections on Ozu, Mizoguchi and others. Many others:
> Kore-eda, Miike, Naruse, Miyazaki, nado nado.
>
> I learned A LOT from David Bordwell, but I especially learned how to look
> at Ozu and Mizoguchi. He'll be missed.
>
> Markus
>
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From steven.elworth at gmail.com  Fri Mar  1 22:13:53 2024
From: steven.elworth at gmail.com (Steven Elworth)
Date: Fri, 1 Mar 2024 22:13:53 -0500
Subject: [KineJapan] Rest in Peace, DB
In-Reply-To: <CALt6FyoqySg5LsdnyB1DA12b6jKWAm6-Tx-0cpnesOGVZx6X0A@mail.gmail.com>
References: <CANoSnpC5kekR9QxJHcheGn67tCzxNhkq6r2UgErDoOJ7aNrKiA@mail.gmail.com>
 <CALt6FyoqySg5LsdnyB1DA12b6jKWAm6-Tx-0cpnesOGVZx6X0A@mail.gmail.com>
Message-ID: <CAOE+sJ9NkgpeidgAXQ4mD5z3g_CqLdW2yCfhK-dg-y+f5qJm=Q@mail.gmail.com>

I knew David for over 40 years. He was so knowledgeable about cinema and
how to understand it closely and in context.  He was also a great person.
He is already missed. But we have the books and the blogs.
Steve Elworth

On Fri, Mar 1, 2024 at 8:52?PM Michael Kerpan via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> While I never met Prof. Bordwell in person, we corresponded with each
> other from time to time.  (His last trip to Boston was a year or so before
> I belatedly discovered Ozu). I always considered him my sensei when it came
> to Japanese cinema (especially Ozu, of course).  I am quite sad -- it is
> too early to have to say goodbye to him.
>
> Michael Kerpan
> Boston
>
> On Fri, Mar 1, 2024 at 8:36?PM Markus Nornes via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> SCMS just announced the passing of David Bordwell (b. 1947). David was a
>> capacious, amazing scholar and incredibly generous. As a student, he
>> entered grad school just as the field was taking shape. Imagine how
>> exciting it was be studying a field that was nascent and just about
>> anything you write was the first word. That was at Iowa, where he studied
>> under Dudley Andrew who himself was just out of grad school and not too
>> much older. I wonder if David was Dudley's first grad student.
>>
>> In the early 70s he became interested in Ozu, which was starting to
>> circulate on 16mm and even TV. Then he offered a course pretty much
>> centered on the director and rented all the prints he could get his hands
>> on. At the time, there were the books by Schrader and Richie, but those
>> didn't jive with what they were seeing. He told me he would go to the booth
>> between classes and grab stills off the prints. From this experience, his
>> student Ed Branigan wrote "The Space of Equinox Flower," and David and
>> Kristin Thompson wrote their seminal "Space and Narrative in the Films of
>> Ozu." I regularly teach this essay. It picks up all the things Richie,
>> Schrader and others were writing about, adds a whole lot more, and
>> describes it with a remarkable rigor that gives that essay a special
>> durability. It's also a useful essay for seeing the development of what
>> would later be called neo-formalism being thought out on the fly.
>>
>> In the background there was defining baselines that filmmakers like Ozu
>> were working off of. The marker for that part of his research trajectory is
>> the monumental *Classical Hollywood Cinema*, co-written with Thompson
>> and Janet Staiger. That came out just when I started grad school, and it
>> was an astounding read that demonstrated to a lot of us how to be a serious
>> film scholar.
>>
>> And just a few years after this he followed up with Ozu and the Poetics
>> of Cinema, which builds on his other writings at the time that explored
>> norms that a given filmmaker plays with in doing something different. And
>> the Ozu book is the prime example. The analyses in that film are
>> unparalleled. Only someone as sensitive David could recognize the
>> breathtaking intricacy of Ozu's work. It was criticized, even dismissed, by
>> some for being thin on history. But for someone who is not a Japan
>> specialist, with no language ability to crack the archive in the way they
>> did with *CHC*, it's pretty solid history. And the heart of the book is
>> breathtaking. I learned so much from that book, and still go back to it.
>>
>> At some point, David told me he was shocked and delighted to find the Ozu
>> book in a New York used bookstore for over $400. I had no idea it was out
>> of print. Princeton refused to reprint it because of all the photographs,
>> which he found ridiculous and frustrating. So I reprinted it in digital
>> form?long before the idea of "open access"?through UM's CJS Pubs (and this
>> morning, I'm shocked to find that it's currently offline; I'll work on that
>> asap). He actually hired a student to make new prints of the 300+ images
>> and make what were then high res scans for the digital version. We actually
>> made a novel interface that turned the small images on the pages into
>> thumbnails that would call up the full res images. He was delighted with
>> this, and continued to be frustrated with university presses and did a
>> bunch of digital pubs and reprints in the future (eg., his Hong Kong cinema
>> book).
>>
>> His interest in Japanese film was lifelong, and actually it began with
>> Mizoguchi. In fact, he attributes his decision to go to grad school to
>> study cinema to his serendipitous encounter with Sansho the Bailiff in
>> 1969. His major contribution on Mizoguchi is in *Figures Traced in Light*
>> from 2008. He also published a nice supplement to the book on his blog:
>> http://www.davidbordwell.net/books/figures_intro.php?ss=1
>>
>> If you haven't explored his blog, stop, take a moment and go down the
>> rabbit hole. You can go to the sidebar on the right and find links that
>> create discrete collections on Ozu, Mizoguchi and others. Many others:
>> Kore-eda, Miike, Naruse, Miyazaki, nado nado.
>>
>> I learned A LOT from David Bordwell, but I especially learned how to look
>> at Ozu and Mizoguchi. He'll be missed.
>>
>> Markus
>>
>>
>>
>>
>>
>>
>>
>>
>> _______________________________________________
>> 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 kmezur at sbcglobal.net  Sat Mar  2 05:01:24 2024
From: kmezur at sbcglobal.net (Katherine Mezur)
Date: Sat, 2 Mar 2024 02:01:24 -0800
Subject: [KineJapan] Rest in Peace, DB
In-Reply-To: <CAOE+sJ9NkgpeidgAXQ4mD5z3g_CqLdW2yCfhK-dg-y+f5qJm=Q@mail.gmail.com>
References: <CAOE+sJ9NkgpeidgAXQ4mD5z3g_CqLdW2yCfhK-dg-y+f5qJm=Q@mail.gmail.com>
Message-ID: <0C025B41-39D7-4BED-96EE-7D683D44BD9C@sbcglobal.net>

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From aaron.gerow at yale.edu  Sat Mar  2 12:00:41 2024
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Sat, 2 Mar 2024 12:00:41 -0500
Subject: [KineJapan] Rest in Peace, DB
In-Reply-To: <CANoSnpC5kekR9QxJHcheGn67tCzxNhkq6r2UgErDoOJ7aNrKiA@mail.gmail.com>
References: <CANoSnpC5kekR9QxJHcheGn67tCzxNhkq6r2UgErDoOJ7aNrKiA@mail.gmail.com>
Message-ID: <E3F0EF31-979E-4704-AE11-06BF37512E66@yale.edu>

Thanks Markus for the wonderful tribute. 

I actually only met David a couple of times, though he was always so kind and generous each time. I remember at an Iowa conference where he called out my name from the podium even though we?d only met for the first time an hour before. 

I had a conversation today with my first film prof, John Belton, on Facebook. John was remarking on his first encounter with Bordwell?s work though an article on Citizen Kane in 1971, an encounter that changed John?s approach to film from phenomenological to a kind of ?formalist phenomenology??an odd creature indeed. My first film class was with John and he used the Film Art textbook?which David wrote with Kristin Thompson?so over the years, I probably have also been imbued a kind of formalist phenomenology, one augmented by my studies under the Bazinian Dudley Andrew. When I came to start teaching Intro to Film at Yale, I insisted on using the Film Art textbook because I still believe a formalist approach is the best way to start looking at film. 

So while I was also a young turk who wanted to combat his elders, and thus had my own critiques of Bordwell?s approach to Japanese cinema (and cinema in general), the formalist in me still understood how essential his work is to studying Japanese film. I of course still teach his work. While the translation of Hasumi?s Ozu book is coming out this month, in which Hasumi is critical of Bordwell, I can also see how Bordwell is a productive counter to Hasumi as well.

Some did say his work was not historical enough, but I can?t understand that complaint: heck, he called his methodology "historical poetics." Some of his early pieces on the practice of studying Japanese cinema still contain a lot of good advice for historical approaches to this cinema. If we can call it a fault, his main limitation was that he had no limits, and could write about so many things (I love his books on Dreyer and Hong Kong film). I sometimes wonder what Bordwell could have written if had the means?such as the language?to delve even more into the depths of Japanese film history. But I guess that is our task now.

Aaron


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 <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com





















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From nornes at umich.edu  Sat Mar  2 22:16:26 2024
From: nornes at umich.edu (Markus Nornes)
Date: Sun, 3 Mar 2024 12:16:26 +0900
Subject: [KineJapan] Rest in Peace, DB
In-Reply-To: <E3F0EF31-979E-4704-AE11-06BF37512E66@yale.edu>
References: <CANoSnpC5kekR9QxJHcheGn67tCzxNhkq6r2UgErDoOJ7aNrKiA@mail.gmail.com>
 <E3F0EF31-979E-4704-AE11-06BF37512E66@yale.edu>
Message-ID: <CANoSnpCGEN3rLjHbB--1dp=6p=vOX38Ko4XbcoxdKs14EG76rQ@mail.gmail.com>

Aaron writes,

So while I was also a young turk who wanted to combat his elders, and thus
> had my own critiques of Bordwell?s approach to Japanese cinema (and cinema
> in general), the formalist in me still understood how essential his work is
> to studying Japanese film.
>

This hit a little. I was introduced to David's work through CHC, Narration
in the Fiction Film, and his writings on Japanese film. At the time, USC
was a bastion for post-structural theory, and Bordwell was too often used
as a foil. I recall seminars where the professors framed him with something
along the lines of "of course, this is simply wrong." By the time the Ozu
book came out the preponderance of scholars and students working on
neo-formalism led to notions of a Wisconsin School. We grad students were
being taught to be critical, and often took that too far?as grad students
are wont to do. One of my first publications was a book review of the Ozu
book that has some kind of sly comment about "Wisconsin" that I am deeply
embarrassed about today. I'm not going to go back to find an exact quote.
I'm happy I had the chance to apologize to him directly many years later?he
was typically, incredibly, gracious and kind. The outpouring of touching
tributes to him has shown how important he was to so many people of
multiple generations, and both in and outside of academia. Unfortunately, I
don't think the discipline has been so kind to him over the years. People
in our field of Japanese film studies don't talk about him much, but there
is no question he was also a founder and titan of Japanese film studies.

Markus
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From jonathanmarkhall at gmail.com  Sun Mar  3 00:35:20 2024
From: jonathanmarkhall at gmail.com (Jonathan M. Hall)
Date: Sat, 2 Mar 2024 21:35:20 -0800
Subject: [KineJapan] Rest in Peace, DB
In-Reply-To: <CANoSnpCGEN3rLjHbB--1dp=6p=vOX38Ko4XbcoxdKs14EG76rQ@mail.gmail.com>
References: <CANoSnpC5kekR9QxJHcheGn67tCzxNhkq6r2UgErDoOJ7aNrKiA@mail.gmail.com>
 <E3F0EF31-979E-4704-AE11-06BF37512E66@yale.edu>
 <CANoSnpCGEN3rLjHbB--1dp=6p=vOX38Ko4XbcoxdKs14EG76rQ@mail.gmail.com>
Message-ID: <CAKENDRH58enOzbuL24+F5v7k58YFZ8VvmdBwn3A7Txfnek0GPQ@mail.gmail.com>

2+2=7... 3+3=9... I always felt Bordwell enjoyed, no, relished, his
"post-theoretical" stance. Read the stick-it-to-them introductory essay on
the "Vicissitudes of Grand Theory" in his 1996 co-edited volume with Noel
Carroll. He was having fun! And if you have any doubt, just consider the
cover image for that volume from Hal Roach's Laurel & Hardy film, *A Chump
at Oxford. *That's where my math is from. Bordwell et al.'s  attacks on
"grand" or "high theory" felt reactionary to me at the time, and they still
do today. But there's no doubting the wonderful contributions he made to
close reading. I'm glad his work is there for me to admire and disagree
with.

Jonathan M Hall
World Languages & Literatures
California State University San Bernardino

On Sat, Mar 2, 2024 at 7:16?PM Markus Nornes via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Aaron writes,
>
> So while I was also a young turk who wanted to combat his elders, and thus
>> had my own critiques of Bordwell?s approach to Japanese cinema (and cinema
>> in general), the formalist in me still understood how essential his work is
>> to studying Japanese film.
>>
>
> This hit a little. I was introduced to David's work through CHC, Narration
> in the Fiction Film, and his writings on Japanese film. At the time, USC
> was a bastion for post-structural theory, and Bordwell was too often used
> as a foil. I recall seminars where the professors framed him with something
> along the lines of "of course, this is simply wrong." By the time the Ozu
> book came out the preponderance of scholars and students working on
> neo-formalism led to notions of a Wisconsin School. We grad students were
> being taught to be critical, and often took that too far?as grad students
> are wont to do. One of my first publications was a book review of the Ozu
> book that has some kind of sly comment about "Wisconsin" that I am deeply
> embarrassed about today. I'm not going to go back to find an exact quote.
> I'm happy I had the chance to apologize to him directly many years later?he
> was typically, incredibly, gracious and kind. The outpouring of touching
> tributes to him has shown how important he was to so many people of
> multiple generations, and both in and outside of academia. Unfortunately, I
> don't think the discipline has been so kind to him over the years. People
> in our field of Japanese film studies don't talk about him much, but there
> is no question he was also a founder and titan of Japanese film studies.
>
> Markus
>
> _______________________________________________
> 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  Sun Mar  3 03:12:48 2024
From: unkleque at yahoo.com.au (quentin turnour)
Date: Sun, 3 Mar 2024 08:12:48 +0000 (UTC)
Subject: [KineJapan] Rest in Peace, DB
In-Reply-To: <CAOE+sJ9NkgpeidgAXQ4mD5z3g_CqLdW2yCfhK-dg-y+f5qJm=Q@mail.gmail.com>
References: <CANoSnpC5kekR9QxJHcheGn67tCzxNhkq6r2UgErDoOJ7aNrKiA@mail.gmail.com>
 <CALt6FyoqySg5LsdnyB1DA12b6jKWAm6-Tx-0cpnesOGVZx6X0A@mail.gmail.com>
 <CAOE+sJ9NkgpeidgAXQ4mD5z3g_CqLdW2yCfhK-dg-y+f5qJm=Q@mail.gmail.com>
Message-ID: <238428308.3792311.1709453568843@mail.yahoo.com>

 Hi Markus,
Thanks for letting us know. This is a shock.?
I knew David more though his Hong Kong cinema passions than those for Japanese cinema, although I conversed with him on Asian (and occasionally Australian cinema) across conference rooms, lecture plinths, email, dinner tables and cinema seat backs on maybe four continents over the years.?
No scholar was so much also the generalist buff and lived across and brought together the streams of screen (and in recent yars popular genre literary) scholarship, moving image archiving and living film production. And that he wanted to be a scholar and fan as much as a teacher stick in the mind. It was marvelous to see him taking it in from the front row of Bologna's Ill cinema ritrovato or contemporary, Asian cinema-focused festivals on both side of the Pacific, then rush back to blog on it in the evenings. Or getting very excited and talking selfies when chairing a judging panel at the Hong Kong Film Festival because actor Christopher Lambert was on his panel. Or supporting the careers of rising indie filmmakers whose films he'd seen (for example HK filmmaker?Chan Tze-woon, who made a point of professing how valuable DB's early feedback had been at the seminar on documentary filmmakers and festivals held at last year's Yamagata).?
And it was really humbling when he'd try to claim that he'd learnt a lot from you. When in truth you owed so much to him.
Thoughts go his partner Kirstin and huge extended family of colleagues, collaborators and admirers.?
Many things need to get named after him...
Quentin TurnourNational Archives of Australia / Cinema Reborn Film Festival.

    On Saturday, 2 March 2024 at 02:14:10 pm AEDT, Steven Elworth via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 I knew David for over 40 years. He was so knowledgeable about cinema and how to understand it closely and in context.? He was also a great person.? He is already missed. But we have the books and the blogs.?Steve Elworth?
On Fri, Mar 1, 2024 at 8:52?PM Michael Kerpan via KineJapan <kinejapan at mailman.yale.edu> wrote:

While I never met Prof. Bordwell in person, we corresponded with each other from time to time.? (His last?trip to Boston was a year?or so before I belatedly discovered Ozu). I always considered him my sensei when it came to Japanese cinema (especially Ozu, of course).? I am quite sad -- it is too early to have to say goodbye to him.
Michael KerpanBoston
On Fri, Mar 1, 2024 at 8:36?PM Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:

SCMS just announced the passing of David Bordwell (b. 1947). David was a capacious, amazing scholar and incredibly generous. As a student, he entered grad school just as the field was taking shape. Imagine how exciting it was be studying a field that was nascent and just about anything you write was the first word. That was at Iowa, where he studied under Dudley Andrew who himself was just out of grad school and not too much older. I wonder if David was Dudley's first grad student.?
In the early 70s he became interested in Ozu, which was starting to circulate on 16mm and even TV. Then he offered a course pretty much centered on the director and rented all the prints he could get his hands on. At the time, there were the books by Schrader and Richie, but those didn't jive with what they were seeing. He told me he would go to the booth between classes and grab stills off the prints. From this experience, his student Ed Branigan wrote "The Space of Equinox Flower," and David and Kristin Thompson wrote their seminal "Space and Narrative in the Films of Ozu."?I regularly teach this essay. It picks up all the things Richie, Schrader and others were writing about, adds a whole lot more, and describes?it with a remarkable rigor that gives that essay a special durability. It's also a useful essay for seeing the development of what would later be called neo-formalism being thought out on the fly.?
In the background there was defining baselines that filmmakers like Ozu were working off of. The marker for that part of his research trajectory is the monumental Classical Hollywood Cinema, co-written with Thompson and Janet Staiger. That came out just when I started grad school, and it was an astounding read that demonstrated to a lot of us how to be a serious film scholar.?
And just a few years after this he followed up with Ozu and the Poetics of Cinema, which builds on his other writings at the time that explored norms that a given filmmaker plays with in doing something different. And the Ozu book is the prime example. The analyses in that film are unparalleled. Only someone as sensitive David could recognize the breathtaking intricacy of Ozu's work. It was criticized, even dismissed, by some for being thin on history. But for someone who is not a Japan specialist, with no language ability to crack the archive in the way they did with CHC, it's pretty solid history. And the heart of the book is breathtaking. I learned so much from that book, and still go back to it.?
At some point, David told me he was shocked and delighted to find the Ozu book in a New York used bookstore for over $400. I had no idea it was out of print. Princeton refused to reprint it because of all the photographs, which he found ridiculous and frustrating. So I reprinted it in digital form?long before the idea of "open access"?through UM's CJS Pubs (and this morning, I'm shocked to find that it's currently offline; I'll work on that asap). He actually hired a student to make new prints of the 300+ images and make what were then high res scans for the digital version. We actually made a novel interface that turned the small images on the pages into thumbnails that would call up the full res images. He was delighted with this, and continued to be frustrated with university presses and did a bunch of digital pubs and reprints in the future (eg., his Hong Kong cinema book).?
His interest in Japanese film was lifelong, and actually it began with Mizoguchi. In fact, he attributes his decision to go to grad school to study cinema to his serendipitous encounter with Sansho the Bailiff in 1969. His major contribution on Mizoguchi is in Figures Traced in Light from 2008. He also published a nice supplement to the book on his blog:?http://www.davidbordwell.net/books/figures_intro.php?ss=1
If you haven't explored his blog, stop, take a moment and go down the rabbit hole. You can go to the sidebar on the right and find links that create discrete collections on Ozu, Mizoguchi and others. Many others: Kore-eda, Miike, Naruse, Miyazaki, nado nado.?
I learned A LOT from David Bordwell, but I especially learned how to look at Ozu and Mizoguchi. He'll be missed.?
Markus







_______________________________________________
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 unkleque at yahoo.com.au  Sun Mar  3 04:06:07 2024
From: unkleque at yahoo.com.au (quentin turnour)
Date: Sun, 3 Mar 2024 09:06:07 +0000 (UTC)
Subject: [KineJapan] Rest in Peace, DB
In-Reply-To: <238428308.3792311.1709453568843@mail.yahoo.com>
References: <CANoSnpC5kekR9QxJHcheGn67tCzxNhkq6r2UgErDoOJ7aNrKiA@mail.gmail.com>
 <CALt6FyoqySg5LsdnyB1DA12b6jKWAm6-Tx-0cpnesOGVZx6X0A@mail.gmail.com>
 <CAOE+sJ9NkgpeidgAXQ4mD5z3g_CqLdW2yCfhK-dg-y+f5qJm=Q@mail.gmail.com>
 <238428308.3792311.1709453568843@mail.yahoo.com>
Message-ID: <1940776655.3806159.1709456767960@mail.yahoo.com>

 Those of you with access to the Film Programmer's listserv will see that Gary Meyer has posted a moving email from Kristin Thompson about David's passing. This is no doubt appearing in other fora.
QT.

    On Sunday, 3 March 2024 at 07:13:00 pm AEDT, quentin turnour via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
  Hi Markus,
Thanks for letting us know. This is a shock.?
I knew David more though his Hong Kong cinema passions than those for Japanese cinema, although I conversed with him on Asian (and occasionally Australian cinema) across conference rooms, lecture plinths, email, dinner tables and cinema seat backs on maybe four continents over the years.?
No scholar was so much also the generalist buff and lived across and brought together the streams of screen (and in recent years, popular genre literary-) scholarship, moving image archiving and living film production. And that he wanted to be a scholar and fan as much as a teacher stick in the mind. It was marvelous to see him taking it in from the front row of Bologna's Ill cinema ritrovato or contemporary, Asian cinema-focused festivals on both side of the Pacific, then rush back to blog on it in the evenings. Or getting very excited and talking selfies when chairing a judging panel at the Hong Kong Film Festival because actor Christopher Lambert was on his panel. Or supporting the careers of rising indie filmmakers whose films he'd seen (for example HK filmmaker?Chan Tze-woon, who made a point of professing how valuable DB's early feedback had been at the seminar on documentary filmmakers and festivals held at last year's Yamagata).?
And it was really humbling when he'd try to claim that he'd learnt a lot from you. When in truth you owed so much to him.
Thoughts go his partner Kristin and huge extended family of colleagues, collaborators and admirers.?
Many things need to get named after him...
Quentin TurnourNational Archives of Australia / Cinema Reborn Film Festival.

    On Saturday, 2 March 2024 at 02:14:10 pm AEDT, Steven Elworth via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 I knew David for over 40 years. He was so knowledgeable about cinema and how to understand it closely and in context.? He was also a great person.? He is already missed. But we have the books and the blogs.?Steve Elworth?
On Fri, Mar 1, 2024 at 8:52?PM Michael Kerpan via KineJapan <kinejapan at mailman.yale.edu> wrote:

While I never met Prof. Bordwell in person, we corresponded with each other from time to time.? (His last?trip to Boston was a year?or so before I belatedly discovered Ozu). I always considered him my sensei when it came to Japanese cinema (especially Ozu, of course).? I am quite sad -- it is too early to have to say goodbye to him.
Michael KerpanBoston
On Fri, Mar 1, 2024 at 8:36?PM Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:

SCMS just announced the passing of David Bordwell (b. 1947). David was a capacious, amazing scholar and incredibly generous. As a student, he entered grad school just as the field was taking shape. Imagine how exciting it was be studying a field that was nascent and just about anything you write was the first word. That was at Iowa, where he studied under Dudley Andrew who himself was just out of grad school and not too much older. I wonder if David was Dudley's first grad student.?
In the early 70s he became interested in Ozu, which was starting to circulate on 16mm and even TV. Then he offered a course pretty much centered on the director and rented all the prints he could get his hands on. At the time, there were the books by Schrader and Richie, but those didn't jive with what they were seeing. He told me he would go to the booth between classes and grab stills off the prints. From this experience, his student Ed Branigan wrote "The Space of Equinox Flower," and David and Kristin Thompson wrote their seminal "Space and Narrative in the Films of Ozu."?I regularly teach this essay. It picks up all the things Richie, Schrader and others were writing about, adds a whole lot more, and describes?it with a remarkable rigor that gives that essay a special durability. It's also a useful essay for seeing the development of what would later be called neo-formalism being thought out on the fly.?
In the background there was defining baselines that filmmakers like Ozu were working off of. The marker for that part of his research trajectory is the monumental Classical Hollywood Cinema, co-written with Thompson and Janet Staiger. That came out just when I started grad school, and it was an astounding read that demonstrated to a lot of us how to be a serious film scholar.?
And just a few years after this he followed up with Ozu and the Poetics of Cinema, which builds on his other writings at the time that explored norms that a given filmmaker plays with in doing something different. And the Ozu book is the prime example. The analyses in that film are unparalleled. Only someone as sensitive David could recognize the breathtaking intricacy of Ozu's work. It was criticized, even dismissed, by some for being thin on history. But for someone who is not a Japan specialist, with no language ability to crack the archive in the way they did with CHC, it's pretty solid history. And the heart of the book is breathtaking. I learned so much from that book, and still go back to it.?
At some point, David told me he was shocked and delighted to find the Ozu book in a New York used bookstore for over $400. I had no idea it was out of print. Princeton refused to reprint it because of all the photographs, which he found ridiculous and frustrating. So I reprinted it in digital form?long before the idea of "open access"?through UM's CJS Pubs (and this morning, I'm shocked to find that it's currently offline; I'll work on that asap). He actually hired a student to make new prints of the 300+ images and make what were then high res scans for the digital version. We actually made a novel interface that turned the small images on the pages into thumbnails that would call up the full res images. He was delighted with this, and continued to be frustrated with university presses and did a bunch of digital pubs and reprints in the future (eg., his Hong Kong cinema book).?
His interest in Japanese film was lifelong, and actually it began with Mizoguchi. In fact, he attributes his decision to go to grad school to study cinema to his serendipitous encounter with Sansho the Bailiff in 1969. His major contribution on Mizoguchi is in Figures Traced in Light from 2008. He also published a nice supplement to the book on his blog:?http://www.davidbordwell.net/books/figures_intro.php?ss=1
If you haven't explored his blog, stop, take a moment and go down the rabbit hole. You can go to the sidebar on the right and find links that create discrete collections on Ozu, Mizoguchi and others. Many others: Kore-eda, Miike, Naruse, Miyazaki, nado nado.?
I learned A LOT from David Bordwell, but I especially learned how to look at Ozu and Mizoguchi. He'll be missed.?
Markus







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

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

_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  _______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From mauvaischat77 at gmail.com  Sun Mar  3 04:19:51 2024
From: mauvaischat77 at gmail.com (Ryan Cook)
Date: Sat, 2 Mar 2024 23:19:51 -1000
Subject: [KineJapan] Rest in Peace, DB
In-Reply-To: <238428308.3792311.1709453568843@mail.yahoo.com>
References: <CANoSnpC5kekR9QxJHcheGn67tCzxNhkq6r2UgErDoOJ7aNrKiA@mail.gmail.com>
 <CALt6FyoqySg5LsdnyB1DA12b6jKWAm6-Tx-0cpnesOGVZx6X0A@mail.gmail.com>
 <CAOE+sJ9NkgpeidgAXQ4mD5z3g_CqLdW2yCfhK-dg-y+f5qJm=Q@mail.gmail.com>
 <238428308.3792311.1709453568843@mail.yahoo.com>
Message-ID: <CAHOd6yjUHoP01hBNzkJToCf5jvFyKr_MAnGfSQr7C8Zx9Qha8Q@mail.gmail.com>

Responding to Aaron's comment about Hasumi's criticism of Bordwell in the
(forthcoming this Tuesday in English translation, UCPSAVE30!) Ozu book,
yes, Hasumi does take issue with the Bordwellian norm and exception system
of "difference" in his preference for a probably Deleuzian "affirmation of
abundance" in Ozu, but the chapters in question were of course published in
1983, well before Bordwell's Ozu book. In fact, I suspect that Bordwell
himself responded to Hasumi's book in limited ways, probably
borrowing terms from Hasumi like "phatic communication" to describe speech
in Ozu. In critiquing Bordwell, Hasumi was responding to the "Space and
Narrative in the Films of Ozu" essay, but even there he shows a
reverence toward Bordwell and Thompson that he certainly does not
demonstrate toward certain other figures whose ideas he critiques in the
book... The later chapters, added in 2003, do reflect Hasumi's reading of
Bordwell's Ozu monograph. There is nothing deep there (in fact, Hasumi
misrepresents Bordwell's reading of I WAS BORN BUT, as I point out in a
footnote), but I think that later commentary reflects a respect for
Bordwell's work, if anything. In fact, I tried to get Bordwell to blurb the
Ozu book late last year when it was going to press, but was informed that
he was too unwell for such tasks, unfortunately. I hope the Hasumi
translation will invite new engagements with Bordwell's equally classic Ozu
study.

Ryan

On Sat, Mar 2, 2024 at 10:12?PM quentin turnour via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hi Markus,
>
> Thanks for letting us know. This is a shock.
>
> I knew David more though his Hong Kong cinema passions than those for
> Japanese cinema, although I conversed with him on Asian (and occasionally
> Australian cinema) across conference rooms, lecture plinths, email, dinner
> tables and cinema seat backs on maybe four continents over the years.
>
> No scholar was so much also the generalist buff and lived across and
> brought together the streams of screen (and in recent yars popular genre
> literary) scholarship, moving image archiving and living film production.
> And that he wanted to be a scholar and fan as much as a teacher stick in
> the mind. It was marvelous to see him taking it in from the front row of
> Bologna's Ill cinema ritrovato or contemporary, Asian cinema-focused
> festivals on both side of the Pacific, then rush back to blog on it in the
> evenings. Or getting very excited and talking selfies when chairing a
> judging panel at the Hong Kong Film Festival because actor Christopher
> Lambert was on his panel. Or supporting the careers of rising indie
> filmmakers whose films he'd seen (for example HK filmmaker Chan Tze-woon,
> who made a point of professing how valuable DB's early feedback had been at
> the seminar on documentary filmmakers and festivals held at last year's
> Yamagata).
>
> And it was really humbling when he'd try to claim that he'd learnt a lot
> from you. When in truth you owed so much to him.
>
> Thoughts go his partner Kirstin and huge extended family of colleagues,
> collaborators and admirers.
>
> Many things need to get named after him...
>
> Quentin Turnour
> National Archives of Australia / Cinema Reborn Film Festival.
>
> On Saturday, 2 March 2024 at 02:14:10 pm AEDT, Steven Elworth via
> KineJapan <kinejapan at mailman.yale.edu> wrote:
>
>
> I knew David for over 40 years. He was so knowledgeable about cinema and
> how to understand it closely and in context.  He was also a great person.
> He is already missed. But we have the books and the blogs.
> Steve Elworth
>
> On Fri, Mar 1, 2024 at 8:52?PM Michael Kerpan via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> While I never met Prof. Bordwell in person, we corresponded with each
> other from time to time.  (His last trip to Boston was a year or so before
> I belatedly discovered Ozu). I always considered him my sensei when it came
> to Japanese cinema (especially Ozu, of course).  I am quite sad -- it is
> too early to have to say goodbye to him.
>
> Michael Kerpan
> Boston
>
> On Fri, Mar 1, 2024 at 8:36?PM Markus Nornes via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> SCMS just announced the passing of David Bordwell (b. 1947). David was a
> capacious, amazing scholar and incredibly generous. As a student, he
> entered grad school just as the field was taking shape. Imagine how
> exciting it was be studying a field that was nascent and just about
> anything you write was the first word. That was at Iowa, where he studied
> under Dudley Andrew who himself was just out of grad school and not too
> much older. I wonder if David was Dudley's first grad student.
>
> In the early 70s he became interested in Ozu, which was starting to
> circulate on 16mm and even TV. Then he offered a course pretty much
> centered on the director and rented all the prints he could get his hands
> on. At the time, there were the books by Schrader and Richie, but those
> didn't jive with what they were seeing. He told me he would go to the booth
> between classes and grab stills off the prints. From this experience, his
> student Ed Branigan wrote "The Space of Equinox Flower," and David and
> Kristin Thompson wrote their seminal "Space and Narrative in the Films of
> Ozu." I regularly teach this essay. It picks up all the things Richie,
> Schrader and others were writing about, adds a whole lot more, and
> describes it with a remarkable rigor that gives that essay a special
> durability. It's also a useful essay for seeing the development of what
> would later be called neo-formalism being thought out on the fly.
>
> In the background there was defining baselines that filmmakers like Ozu
> were working off of. The marker for that part of his research trajectory is
> the monumental *Classical Hollywood Cinema*, co-written with Thompson and
> Janet Staiger. That came out just when I started grad school, and it was an
> astounding read that demonstrated to a lot of us how to be a serious film
> scholar.
>
> And just a few years after this he followed up with Ozu and the Poetics of
> Cinema, which builds on his other writings at the time that explored norms
> that a given filmmaker plays with in doing something different. And the Ozu
> book is the prime example. The analyses in that film are unparalleled. Only
> someone as sensitive David could recognize the breathtaking intricacy of
> Ozu's work. It was criticized, even dismissed, by some for being thin on
> history. But for someone who is not a Japan specialist, with no language
> ability to crack the archive in the way they did with *CHC*, it's pretty
> solid history. And the heart of the book is breathtaking. I learned so much
> from that book, and still go back to it.
>
> At some point, David told me he was shocked and delighted to find the Ozu
> book in a New York used bookstore for over $400. I had no idea it was out
> of print. Princeton refused to reprint it because of all the photographs,
> which he found ridiculous and frustrating. So I reprinted it in digital
> form?long before the idea of "open access"?through UM's CJS Pubs (and this
> morning, I'm shocked to find that it's currently offline; I'll work on that
> asap). He actually hired a student to make new prints of the 300+ images
> and make what were then high res scans for the digital version. We actually
> made a novel interface that turned the small images on the pages into
> thumbnails that would call up the full res images. He was delighted with
> this, and continued to be frustrated with university presses and did a
> bunch of digital pubs and reprints in the future (eg., his Hong Kong cinema
> book).
>
> His interest in Japanese film was lifelong, and actually it began with
> Mizoguchi. In fact, he attributes his decision to go to grad school to
> study cinema to his serendipitous encounter with Sansho the Bailiff in
> 1969. His major contribution on Mizoguchi is in *Figures Traced in Light*
> from 2008. He also published a nice supplement to the book on his blog:
> http://www.davidbordwell.net/books/figures_intro.php?ss=1
>
> If you haven't explored his blog, stop, take a moment and go down the
> rabbit hole. You can go to the sidebar on the right and find links that
> create discrete collections on Ozu, Mizoguchi and others. Many others:
> Kore-eda, Miike, Naruse, Miyazaki, nado nado.
>
> I learned A LOT from David Bordwell, but I especially learned how to look
> at Ozu and Mizoguchi. He'll be missed.
>
> Markus
>
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From johndavidbaldwin at aol.com  Sun Mar  3 10:48:42 2024
From: johndavidbaldwin at aol.com (johndavidbaldwin at aol.com)
Date: Sun, 3 Mar 2024 15:48:42 +0000 (UTC)
Subject: [KineJapan] Rest in Peace, DB (David Baldwin)
In-Reply-To: <mailman.3.1709457602.1838.kinejapan@mailman.yale.edu>
References: <mailman.3.1709457602.1838.kinejapan@mailman.yale.edu>
Message-ID: <738295845.1975153.1709480922104@mail.yahoo.com>

I never met Mr. Bordwell, but his work deeply inspired me, not just through his classic book about Ozu, but with his excellent book on Carl Dreyer. He made me see how strange and eccentric (in a good way) these two great filmmakers were, despite well-meaning attempts by critics and scholars to flatten them into some arbitrary concept of "classic" cinema. 

He was a major inspiration on the Wikipedia article on Late Spring that I created (or rather re-created from scratch, throwing out most of what was already there) in the early 2010s. I made an effort with that page to draw upon all significant scholarship in English about that masterpiece film. I haven't counted, but I believe that I cited Bordwell in the footnotes more often than any other writer, even Richie. 

I've just downloaded and begun reading with great enjoyment his book The Rhapsodes about the four most important pre-1960s American film critics: Otis Ferguson, Manny Farber, Parker Tyler and James Agee. (I'm a big Agee fan.) Not much alluded to in the text I've read so far is how Mr. Bordwell himself is part of the tradition of passionate fanship mixed with genuine scholarship established by these four writers.? 

Jack "David" BaldwinNew York


   On Sunday, March 3, 2024 at 04:20:06 AM EST, kinejapan-request at mailman.yale.edu <kinejapan-request at mailman.yale.edu> wrote:  
 
 Today's Topics:

? 1. Re: Rest in Peace, DB (Ryan Cook)


----------------------------------------------------------------------

Message: 1
Date: Sat, 2 Mar 2024 23:19:51 -1000
From: Ryan Cook <mauvaischat77 at gmail.com>
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Cc: "mekerpan at kerpan.com" <mekerpan at kerpan.com>, quentin turnour
??? <unkleque at yahoo.com.au>,? Michael Kerpan <mekerpan2 at gmail.com>
Subject: Re: [KineJapan] Rest in Peace, DB
Message-ID:
??? <CAHOd6yjUHoP01hBNzkJToCf5jvFyKr_MAnGfSQr7C8Zx9Qha8Q at mail.gmail.com>
Content-Type: text/plain; charset="utf-8"

Responding to Aaron's comment about Hasumi's criticism of Bordwell in the
(forthcoming this Tuesday in English translation, UCPSAVE30!) Ozu book,
yes, Hasumi does take issue with the Bordwellian norm and exception system
of "difference" in his preference for a probably Deleuzian "affirmation of
abundance" in Ozu, but the chapters in question were of course published in
1983, well before Bordwell's Ozu book. In fact, I suspect that Bordwell
himself responded to Hasumi's book in limited ways, probably
borrowing terms from Hasumi like "phatic communication" to describe speech
in Ozu. In critiquing Bordwell, Hasumi was responding to the "Space and
Narrative in the Films of Ozu" essay, but even there he shows a
reverence toward Bordwell and Thompson that he certainly does not
demonstrate toward certain other figures whose ideas he critiques in the
book... The later chapters, added in 2003, do reflect Hasumi's reading of
Bordwell's Ozu monograph. There is nothing deep there (in fact, Hasumi
misrepresents Bordwell's reading of I WAS BORN BUT, as I point out in a
footnote), but I think that later commentary reflects a respect for
Bordwell's work, if anything. In fact, I tried to get Bordwell to blurb the
Ozu book late last year when it was going to press, but was informed that
he was too unwell for such tasks, unfortunately. I hope the Hasumi
translation will invite new engagements with Bordwell's equally classic Ozu
study.

Ryan

On Sat, Mar 2, 2024 at 10:12?PM quentin turnour via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hi Markus,
>
> Thanks for letting us know. This is a shock.
>
> I knew David more though his Hong Kong cinema passions than those for
> Japanese cinema, although I conversed with him on Asian (and occasionally
> Australian cinema) across conference rooms, lecture plinths, email, dinner
> tables and cinema seat backs on maybe four continents over the years.
>
> No scholar was so much also the generalist buff and lived across and
> brought together the streams of screen (and in recent yars popular genre
> literary) scholarship, moving image archiving and living film production.
> And that he wanted to be a scholar and fan as much as a teacher stick in
> the mind. It was marvelous to see him taking it in from the front row of
> Bologna's Ill cinema ritrovato or contemporary, Asian cinema-focused
> festivals on both side of the Pacific, then rush back to blog on it in the
> evenings. Or getting very excited and talking selfies when chairing a
> judging panel at the Hong Kong Film Festival because actor Christopher
> Lambert was on his panel. Or supporting the careers of rising indie
> filmmakers whose films he'd seen (for example HK filmmaker Chan Tze-woon,
> who made a point of professing how valuable DB's early feedback had been at
> the seminar on documentary filmmakers and festivals held at last year's
> Yamagata).
>
> And it was really humbling when he'd try to claim that he'd learnt a lot
> from you. When in truth you owed so much to him.
>
> Thoughts go his partner Kirstin and huge extended family of colleagues,
> collaborators and admirers.
>
> Many things need to get named after him...
>
> Quentin Turnour
> National Archives of Australia / Cinema Reborn Film Festival.
>
> On Saturday, 2 March 2024 at 02:14:10 pm AEDT, Steven Elworth via
> KineJapan <kinejapan at mailman.yale.edu> wrote:
>
>
> I knew David for over 40 years. He was so knowledgeable about cinema and
> how to understand it closely and in context.? He was also a great person.
> He is already missed. But we have the books and the blogs.
> Steve Elworth
>
> On Fri, Mar 1, 2024 at 8:52?PM Michael Kerpan via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> While I never met Prof. Bordwell in person, we corresponded with each
> other from time to time.? (His last trip to Boston was a year or so before
> I belatedly discovered Ozu). I always considered him my sensei when it came
> to Japanese cinema (especially Ozu, of course).? I am quite sad -- it is
> too early to have to say goodbye to him.
>
> Michael Kerpan
> Boston
>
> On Fri, Mar 1, 2024 at 8:36?PM Markus Nornes via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> SCMS just announced the passing of David Bordwell (b. 1947). David was a
> capacious, amazing scholar and incredibly generous. As a student, he
> entered grad school just as the field was taking shape. Imagine how
> exciting it was be studying a field that was nascent and just about
> anything you write was the first word. That was at Iowa, where he studied
> under Dudley Andrew who himself was just out of grad school and not too
> much older. I wonder if David was Dudley's first grad student.
>
> In the early 70s he became interested in Ozu, which was starting to
> circulate on 16mm and even TV. Then he offered a course pretty much
> centered on the director and rented all the prints he could get his hands
> on. At the time, there were the books by Schrader and Richie, but those
> didn't jive with what they were seeing. He told me he would go to the booth
> between classes and grab stills off the prints. From this experience, his
> student Ed Branigan wrote "The Space of Equinox Flower," and David and
> Kristin Thompson wrote their seminal "Space and Narrative in the Films of
> Ozu." I regularly teach this essay. It picks up all the things Richie,
> Schrader and others were writing about, adds a whole lot more, and
> describes it with a remarkable rigor that gives that essay a special
> durability. It's also a useful essay for seeing the development of what
> would later be called neo-formalism being thought out on the fly.
>
> In the background there was defining baselines that filmmakers like Ozu
> were working off of. The marker for that part of his research trajectory is
> the monumental *Classical Hollywood Cinema*, co-written with Thompson and
> Janet Staiger. That came out just when I started grad school, and it was an
> astounding read that demonstrated to a lot of us how to be a serious film
> scholar.
>
> And just a few years after this he followed up with Ozu and the Poetics of
> Cinema, which builds on his other writings at the time that explored norms
> that a given filmmaker plays with in doing something different. And the Ozu
> book is the prime example. The analyses in that film are unparalleled. Only
> someone as sensitive David could recognize the breathtaking intricacy of
> Ozu's work. It was criticized, even dismissed, by some for being thin on
> history. But for someone who is not a Japan specialist, with no language
> ability to crack the archive in the way they did with *CHC*, it's pretty
> solid history. And the heart of the book is breathtaking. I learned so much
> from that book, and still go back to it.
>
> At some point, David told me he was shocked and delighted to find the Ozu
> book in a New York used bookstore for over $400. I had no idea it was out
> of print. Princeton refused to reprint it because of all the photographs,
> which he found ridiculous and frustrating. So I reprinted it in digital
> form?long before the idea of "open access"?through UM's CJS Pubs (and this
> morning, I'm shocked to find that it's currently offline; I'll work on that
> asap). He actually hired a student to make new prints of the 300+ images
> and make what were then high res scans for the digital version. We actually
> made a novel interface that turned the small images on the pages into
> thumbnails that would call up the full res images. He was delighted with
> this, and continued to be frustrated with university presses and did a
> bunch of digital pubs and reprints in the future (eg., his Hong Kong cinema
> book).
>
> His interest in Japanese film was lifelong, and actually it began with
> Mizoguchi. In fact, he attributes his decision to go to grad school to
> study cinema to his serendipitous encounter with Sansho the Bailiff in
> 1969. His major contribution on Mizoguchi is in *Figures Traced in Light*
> from 2008. He also published a nice supplement to the book on his blog:
> http://www.davidbordwell.net/books/figures_intro.php?ss=1
>
> If you haven't explored his blog, stop, take a moment and go down the
> rabbit hole. You can go to the sidebar on the right and find links that
> create discrete collections on Ozu, Mizoguchi and others. Many others:
> Kore-eda, Miike, Naruse, Miyazaki, nado nado.
>
> I learned A LOT from David Bordwell, but I especially learned how to look
> at Ozu and Mizoguchi. He'll be missed.
>
> Markus
>
[Remainder of post omitted]
  
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From aaron.gerow at yale.edu  Wed Mar  6 10:31:03 2024
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Wed, 6 Mar 2024 10:31:03 -0500
Subject: [KineJapan] Fwd: TODAY: [Hall Lecture] Violence in the Art & Life
 of Adachi Masao
References: <8f8c1b6ee565468a2d780b0bf.a304bdfb35.20240306125914.4448190ae5.d8d4e00b@mail107.suw111.mcdlv.net>
Message-ID: <757AA78F-6365-4C1B-BA97-6698F0875BCF@yale.edu>

Sorry for not posting this sooner, but if you are in the neighborhood, Markus is giving a talk today.

Aaron


> 
> View this email in your browser <https://mailchi.mp/yale/today-hall-lecture-violence-in-the-art-life-of-adachi-masao?e=a304bdfb35>.
> 
> 
> 
> When ?Camera as Gun? is not a Metaphor: Violence in the Art & Life of Adachi Masao
> Markus Nornes - Professor of Asian Cinema, University of Michigan
> 
> Wednesday, March 6, 2024 | 4:30pm | Room 101 (Auditorium), Henry R. Luce Hall 
> 
> The Council on East Asian Studies is pleased to present the 24th Annual John W. Hall Lecture in Japanese Studies.
> 
> A reception will follow from 6:00pm to 7:00pm in the Luce Common Room (2nd Floor). Second film starts at 8:45pm. All films are screened in Japanese with English subtitles.
> 
> In the 1960s, Adachi Masao was ubiquitous on the Japanese film scene. He made stunningly surreal experimental films. He exploited the soft-core pink film to political ends. He wrote scripts for the likes of Oshima Nagisa and Wakamatsu Koji, and played bit parts in their films. He also wrote important essays on political cinema. In the 1970s, Adachi made a documentary with the Popular Front for the Liberation of Palestine and took the film around Japan on a red bus. Shortly after that, he left on what he calls his ?business trip? (shutcho) to Lebanon, where he went underground with the Japanese Red Army for over 25 years. After arrest, extradition and some jail time, he?s once again ubiquitious in Japanese film culture. What?s more, he?s been discovered outside of Japan and celebrated for his militantly political cinema. There?s a sense, however, that he may be celebrated, but not taken seriously. At his word, as it were. This is an attempt to rethink Adachi?s cinema through the rubric of violence and pain, both imagined and real.
> 
> follow on instagram <https://yale.us5.list-manage.com/track/click?u=8f8c1b6ee565468a2d780b0bf&id=031aabf378&e=a304bdfb35> | friend on facebook <https://yale.us5.list-manage.com/track/click?u=8f8c1b6ee565468a2d780b0bf&id=cf5c49d2e0&e=a304bdfb35> | forward to a friend <https://yale.us5.list-manage.com/track/click?u=8f8c1b6ee565468a2d780b0bf&id=e4d08ace4d&e=a304bdfb35>
>  <https://yale.us5.list-manage.com/track/click?u=8f8c1b6ee565468a2d780b0bf&id=e29d0f23ba&e=a304bdfb35>
>  <https://yale.us5.list-manage.com/track/click?u=8f8c1b6ee565468a2d780b0bf&id=8b10949685&e=a304bdfb35>
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>  <https://yale.us5.list-manage.com/track/click?u=8f8c1b6ee565468a2d780b0bf&id=7b62053e62&e=a304bdfb35>
> Copyright ? *|2023|* Council on East Asian Studies <https://yale.us5.list-manage.com/track/click?u=8f8c1b6ee565468a2d780b0bf&id=bd7f76772c&e=a304bdfb35> at the Whitney and Betty MacMillan Center
> for International and Area Studies at Yale <https://yale.us5.list-manage.com/track/click?u=8f8c1b6ee565468a2d780b0bf&id=ecfb6defe7&e=a304bdfb35> ? All rights reserved. 
> 
> Want to manage your subscription? Update <https://yale.us5.list-manage.com/profile?u=8f8c1b6ee565468a2d780b0bf&id=638ec3d248&e=a304bdfb35&c=4448190ae5> or unsubscribe from this list <https://yale.us5.list-manage.com/unsubscribe?u=8f8c1b6ee565468a2d780b0bf&id=638ec3d248&t=b&e=a304bdfb35&c=4448190ae5>.
> 
> CEAS  |  Room 320, Henry R. Luce Hall, 34 Hillhouse Avenue  |  New Haven, CT 06511
> phone: 203-432-3426  |  fax: 203-432-3430  |  eastasian.studies at yale.edu <mailto:eastasian.studies at yale.edu>
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From earljac at gmail.com  Thu Mar  7 14:24:00 2024
From: earljac at gmail.com (Earl Jackson)
Date: Fri, 8 Mar 2024 03:24:00 +0800
Subject: [KineJapan] Kinoshita Keisuke's shorter films
Message-ID: <CABhbz8N0NfygZvuXffdcTSFLCf06MGEe4K6hzQQZE8zp8cmY1w@mail.gmail.com>

Dear Everyone,
I wonder if I could ask for help in looking for this answer Some of
Kinoshita's features were only 70 minutes long. Is there a way to find out
if they were released as part of a double feature? Last January I looked
through all the ads I could find in Kinema Junpo and Eiga Hyoron without
seeing any indication of that.
I would appreciate any information you might have.
Thank you
ej
Earl Jackson
Chair Professor
Foreign Languages and Literatures
Asia University
Professor Emeritus
National Chiao Tung University
Associate Professor Emeritus
University of California, Santa Cruz
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From reavolution at gmail.com  Thu Mar  7 15:32:33 2024
From: reavolution at gmail.com (Rea Amit)
Date: Thu, 7 Mar 2024 14:32:33 -0600
Subject: [KineJapan] Kinoshita Keisuke's shorter films
In-Reply-To: <CABhbz8N0NfygZvuXffdcTSFLCf06MGEe4K6hzQQZE8zp8cmY1w@mail.gmail.com>
References: <CABhbz8N0NfygZvuXffdcTSFLCf06MGEe4K6hzQQZE8zp8cmY1w@mail.gmail.com>
Message-ID: <CAA7VZxgn_xv-Lyy7dqtCRTH2s4Q5VJ2rkO0WP13MCyZpmtQqiQ@mail.gmail.com>

Hi Earl,

I've spent a significant portion of my research focusing on the
distribution of films in Japan. In my assessment, the vast majority of
films were either double- or even triple-billed. However, distribution was
uneven, and the combination of films varied greatly across the country.
Different cinemas would exhibit different films depending on the
availability of prints. The most reliable source for determining individual
cinemas' weekly offerings is their pamphlets. Though not expensive,
acquiring them requires a considerable investment of time and... luck.

If you are looking for information about any specific film, feel free to
email me off-list and I?ll try going through my pamphlet collection.

Best,

Rea



On Thu, Mar 7, 2024 at 1:24?PM Earl Jackson via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Dear Everyone,
> I wonder if I could ask for help in looking for this answer Some of
> Kinoshita's features were only 70 minutes long. Is there a way to find out
> if they were released as part of a double feature? Last January I looked
> through all the ads I could find in Kinema Junpo and Eiga Hyoron without
> seeing any indication of that.
> I would appreciate any information you might have.
> Thank you
> ej
> Earl Jackson
> Chair Professor
> Foreign Languages and Literatures
> Asia University
> Professor Emeritus
> National Chiao Tung University
> Associate Professor Emeritus
> University of California, Santa Cruz
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From earljac at gmail.com  Thu Mar  7 17:11:33 2024
From: earljac at gmail.com (Earl Jackson)
Date: Fri, 8 Mar 2024 06:11:33 +0800
Subject: [KineJapan] Kinoshita Keisuke's shorter films
In-Reply-To: <CAA7VZxgn_xv-Lyy7dqtCRTH2s4Q5VJ2rkO0WP13MCyZpmtQqiQ@mail.gmail.com>
References: <CABhbz8N0NfygZvuXffdcTSFLCf06MGEe4K6hzQQZE8zp8cmY1w@mail.gmail.com>
 <CAA7VZxgn_xv-Lyy7dqtCRTH2s4Q5VJ2rkO0WP13MCyZpmtQqiQ@mail.gmail.com>
Message-ID: <CABhbz8OwArGkzwMyEafu71ckmcZcTZ-X5DQ8AP8OmiPhgcJCYQ@mail.gmail.com>

Dear Rea,
Thank you so much for this answer. I will get back to you with specific
titles.
I really appreciate this.
Best,
ej
Earl Jackson
Chair Professor
Foreign Languages and Literatures
Asia University
Professor Emeritus
National Chiao Tung University
Associate Professor Emeritus
University of California, Santa Cruz


On Fri, Mar 8, 2024 at 4:33?AM Rea Amit <reavolution at gmail.com> wrote:

> Hi Earl,
>
> I've spent a significant portion of my research focusing on the
> distribution of films in Japan. In my assessment, the vast majority of
> films were either double- or even triple-billed. However, distribution was
> uneven, and the combination of films varied greatly across the country.
> Different cinemas would exhibit different films depending on the
> availability of prints. The most reliable source for determining individual
> cinemas' weekly offerings is their pamphlets. Though not expensive,
> acquiring them requires a considerable investment of time and... luck.
>
> If you are looking for information about any specific film, feel free to
> email me off-list and I?ll try going through my pamphlet collection.
>
> Best,
>
> Rea
>
>
>
> On Thu, Mar 7, 2024 at 1:24?PM Earl Jackson via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> Dear Everyone,
>> I wonder if I could ask for help in looking for this answer Some of
>> Kinoshita's features were only 70 minutes long. Is there a way to find out
>> if they were released as part of a double feature? Last January I looked
>> through all the ads I could find in Kinema Junpo and Eiga Hyoron without
>> seeing any indication of that.
>> I would appreciate any information you might have.
>> Thank you
>> ej
>> Earl Jackson
>> Chair Professor
>> Foreign Languages and Literatures
>> Asia University
>> Professor Emeritus
>> National Chiao Tung University
>> Associate Professor Emeritus
>> University of California, Santa Cruz
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu
>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>>
>
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From desser at illinois.edu  Mon Mar 11 12:13:48 2024
From: desser at illinois.edu (Desser, David M)
Date: Mon, 11 Mar 2024 16:13:48 +0000
Subject: [KineJapan] help with TV series in US in the mid-1970s
Message-ID: <DS0PR11MB79024FD716D02AF47D2490EAAD242@DS0PR11MB7902.namprd11.prod.outlook.com>

Hi -

Help, please, from anyone as old as I with a better memory or any who are better researchers (which is probably most of you):

in 1974 or 1975 PBS in the US had a film series hosted by Edwin O. Reischauer devoted to showing, then discussing or having interviews with actors, a range of Japanese films.  Former Pacific Film Archive director Sheldon Renan was heavily involved, too.  Films like Twenty-Four Eyes, Ugetsu, Night Drum, Boy, Double Suicide, Early Summer, were part of the series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed after the showing of Sanjuro (I think it was).  I think it was called The Japanese Film.  Anyone able to confirm the year and the title?  Thanks!

David
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From earljac at gmail.com  Mon Mar 11 13:39:33 2024
From: earljac at gmail.com (Earl Jackson)
Date: Tue, 12 Mar 2024 01:39:33 +0800
Subject: [KineJapan] help with TV series in US in the mid-1970s
In-Reply-To: <DS0PR11MB79024FD716D02AF47D2490EAAD242@DS0PR11MB7902.namprd11.prod.outlook.com>
References: <DS0PR11MB79024FD716D02AF47D2490EAAD242@DS0PR11MB7902.namprd11.prod.outlook.com>
Message-ID: <CABhbz8Ot8Z2oVc6aNVb_8APO6r-jympYG14dmD8=891Tu6GH2w@mail.gmail.com>

I found this page from Jan 12, 1975 NYT if that helps

Earl Jackson
Chair Professor
Foreign Languages and Literatures
Asia University
Professor Emeritus
National Chiao Tung University
Associate Professor Emeritus
University of California, Santa Cruz


On Tue, Mar 12, 2024 at 12:13?AM Desser, David M via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hi -
>
> Help, please, from anyone as old as I with a better memory or any who are
> better researchers (which is probably most of you):
>
> in 1974 or 1975 PBS in the US had a film series hosted by Edwin O.
> Reischauer devoted to showing, then discussing or having interviews with
> actors, a range of Japanese films.  Former Pacific Film Archive director
> Sheldon Renan was heavily involved, too.  Films like *Twenty-Four Eyes,
> Ugetsu, Night Drum, Boy, Double Suicide, Early Summer*, were part of the
> series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed
> after the showing of* Sanjuro *(I think it was).  I think it was called *The
> Japanese Film*.  Anyone able to confirm the year and the title?  Thanks!
>
> David
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From mekerpan2 at gmail.com  Mon Mar 11 14:10:12 2024
From: mekerpan2 at gmail.com (Michael Kerpan)
Date: Mon, 11 Mar 2024 14:10:12 -0400
Subject: [KineJapan] help with TV series in US in the mid-1970s
In-Reply-To: <CABhbz8Ot8Z2oVc6aNVb_8APO6r-jympYG14dmD8=891Tu6GH2w@mail.gmail.com>
References: <DS0PR11MB79024FD716D02AF47D2490EAAD242@DS0PR11MB7902.namprd11.prod.outlook.com>
 <CABhbz8Ot8Z2oVc6aNVb_8APO6r-jympYG14dmD8=891Tu6GH2w@mail.gmail.com>
Message-ID: <CALt6Fyo1eA2T=KZDm_fhRX5LNnQPcYpk_P8Pe9U1x-OFcP506w@mail.gmail.com>

At one point Cambridge Forum (where my wife was once the director) had
videos of this series but even over 20 years ago these were no longer
functional (otherwise I would have borrowed them to watch).

Michael Kerpan
Boston. MA

On Mon, Mar 11, 2024 at 1:39?PM Earl Jackson via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> I found this page from Jan 12, 1975 NYT if that helps
>
> Earl Jackson
> Chair Professor
> Foreign Languages and Literatures
> Asia University
> Professor Emeritus
> National Chiao Tung University
> Associate Professor Emeritus
> University of California, Santa Cruz
>
>
> On Tue, Mar 12, 2024 at 12:13?AM Desser, David M via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> Hi -
>>
>> Help, please, from anyone as old as I with a better memory or any who are
>> better researchers (which is probably most of you):
>>
>> in 1974 or 1975 PBS in the US had a film series hosted by Edwin O.
>> Reischauer devoted to showing, then discussing or having interviews with
>> actors, a range of Japanese films.  Former Pacific Film Archive director
>> Sheldon Renan was heavily involved, too.  Films like *Twenty-Four Eyes,
>> Ugetsu, Night Drum, Boy, Double Suicide, Early Summer*, were part of the
>> series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed
>> after the showing of* Sanjuro *(I think it was).  I think it was called *The
>> Japanese Film*.  Anyone able to confirm the year and the title?  Thanks!
>>
>> David
>> _______________________________________________
>> 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 joanne.bernardi at rochester.edu  Mon Mar 11 14:26:37 2024
From: joanne.bernardi at rochester.edu (Bernardi, Joanne)
Date: Mon, 11 Mar 2024 18:26:37 +0000
Subject: [KineJapan] help with TV series in US in the mid-1970s
In-Reply-To: <mailman.1716.1710178791.1842.kinejapan@mailman.yale.edu>
References: <mailman.1716.1710178791.1842.kinejapan@mailman.yale.edu>
Message-ID: <SN7PR07MB97217950A3652D5596D8D916E9242@SN7PR07MB9721.namprd07.prod.outlook.com>

Hi David, Earl,

I just sent the list a response to this thread with some images, but it might be too big to get through. The series was in 1975, sponsored by KQED San Francisco and others. I have one pamphlet related to the series (one of the images in my earlier message). I saw the series when I was in college--it was the first time I had seen so many Japanese feature films and got an inkling of all I had been missing out on.

You can find info on the series here (you might need to scroll down the page)
http://yoshabunko.com/translations/Keene_Seidensticker_et_al.html#the_japanese_film

The Japanese Film
The off-camera editoral wars
in the production of the study guide for
KQED's 1975 PBS television series
featuring Reischauer et al.

Best wishes,
Joanne


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

Director, Re-Envisioning Japan: Japan as Destination in 20th Century Visual and Material Culture<https://rej.lib.rochester.edu/>
Recent publication (2023): ?Animate Objects,? Recollecting Collecting: A Film and Media Studies Perspective<https://www.wsupress.wayne.edu/books/detail/recollecting-collecting>.
Student work:  https://vimeo.com/joannebernardi


From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of kinejapan-request at mailman.yale.edu <kinejapan-request at mailman.yale.edu>
Date: Monday, March 11, 2024 at 1:39?PM
To: kinejapan at mailman.yale.edu <kinejapan at mailman.yale.edu>
Subject: [EXT] KineJapan Digest, Vol 70, Issue 12
Send KineJapan mailing list submissions to
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Today's Topics:

   1. help with TV series in US in the mid-1970s (Desser, David M)
   2. Re: help with TV series in US in the mid-1970s (Earl Jackson)


----------------------------------------------------------------------

Message: 1
Date: Mon, 11 Mar 2024 16:13:48 +0000
From: "Desser, David M" <desser at illinois.edu>
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Subject: [KineJapan] help with TV series in US in the mid-1970s
Message-ID:
        <DS0PR11MB79024FD716D02AF47D2490EAAD242 at DS0PR11MB7902.namprd11.prod.outlook.com>

Content-Type: text/plain; charset="iso-8859-1"

Hi -

Help, please, from anyone as old as I with a better memory or any who are better researchers (which is probably most of you):

in 1974 or 1975 PBS in the US had a film series hosted by Edwin O. Reischauer devoted to showing, then discussing or having interviews with actors, a range of Japanese films.  Former Pacific Film Archive director Sheldon Renan was heavily involved, too.  Films like Twenty-Four Eyes, Ugetsu, Night Drum, Boy, Double Suicide, Early Summer, were part of the series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed after the showing of Sanjuro (I think it was).  I think it was called The Japanese Film.  Anyone able to confirm the year and the title?  Thanks!

David
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------------------------------

Message: 2
Date: Tue, 12 Mar 2024 01:39:33 +0800
From: Earl Jackson <earljac at gmail.com>
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Subject: Re: [KineJapan] help with TV series in US in the mid-1970s
Message-ID:
        <CABhbz8Ot8Z2oVc6aNVb_8APO6r-jympYG14dmD8=891Tu6GH2w at mail.gmail.com>
Content-Type: text/plain; charset="utf-8"

I found this page from Jan 12, 1975 NYT if that helps

Earl Jackson
Chair Professor
Foreign Languages and Literatures
Asia University
Professor Emeritus
National Chiao Tung University
Associate Professor Emeritus
University of California, Santa Cruz


On Tue, Mar 12, 2024 at 12:13?AM Desser, David M via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hi -
>
> Help, please, from anyone as old as I with a better memory or any who are
> better researchers (which is probably most of you):
>
> in 1974 or 1975 PBS in the US had a film series hosted by Edwin O.
> Reischauer devoted to showing, then discussing or having interviews with
> actors, a range of Japanese films.  Former Pacific Film Archive director
> Sheldon Renan was heavily involved, too.  Films like *Twenty-Four Eyes,
> Ugetsu, Night Drum, Boy, Double Suicide, Early Summer*, were part of the
> series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed
> after the showing of* Sanjuro *(I think it was).  I think it was called *The
> Japanese Film*.  Anyone able to confirm the year and the title?  Thanks!
>
> David
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!CGUSO5OYRnA7CQ!dzSbgFsvs4kRWDaXq7Of--fXEclko8f6qK_gXr5F9pJLWdCAeDvcKEdzcX61ScaUwnu7ErwFpFEerke_CMUOQWJ_uEyKKE2TbYkvnQexWjVj$<https://urldefense.com/v3/__https:/mailman.yale.edu/mailman/listinfo/kinejapan__;!!CGUSO5OYRnA7CQ!dzSbgFsvs4kRWDaXq7Of--fXEclko8f6qK_gXr5F9pJLWdCAeDvcKEdzcX61ScaUwnu7ErwFpFEerke_CMUOQWJ_uEyKKE2TbYkvnQexWjVj$>
>
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------------------------------

Subject: Digest Footer

_______________________________________________
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------------------------------

End of KineJapan Digest, Vol 70, Issue 12
*****************************************
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From desser at illinois.edu  Mon Mar 11 14:34:00 2024
From: desser at illinois.edu (Desser, David M)
Date: Mon, 11 Mar 2024 18:34:00 +0000
Subject: [KineJapan] help with TV series in US in the mid-1970s
In-Reply-To: <SN7PR07MB97217950A3652D5596D8D916E9242@SN7PR07MB9721.namprd07.prod.outlook.com>
References: <mailman.1716.1710178791.1842.kinejapan@mailman.yale.edu>
 <SN7PR07MB97217950A3652D5596D8D916E9242@SN7PR07MB9721.namprd07.prod.outlook.com>
Message-ID: <DS0PR11MB79024DE91FF12A0DF49EBC14AD242@DS0PR11MB7902.namprd11.prod.outlook.com>

Thanks Joanne!  Yes, KQED and Sheldon Renan of the PFA.  Indeed!

David
________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Bernardi, Joanne via KineJapan <kinejapan at mailman.yale.edu>
Sent: Monday, March 11, 2024 11:26 AM
To: kinejapan at mailman.yale.edu <kinejapan at mailman.yale.edu>
Cc: Bernardi, Joanne <joanne.bernardi at rochester.edu>
Subject: Re: [KineJapan] help with TV series in US in the mid-1970s


Hi David, Earl,



I just sent the list a response to this thread with some images, but it might be too big to get through. The series was in 1975, sponsored by KQED San Francisco and others. I have one pamphlet related to the series (one of the images in my earlier message). I saw the series when I was in college--it was the first time I had seen so many Japanese feature films and got an inkling of all I had been missing out on.



You can find info on the series here (you might need to scroll down the page)

http://yoshabunko.com/translations/Keene_Seidensticker_et_al.html#the_japanese_film<https://urldefense.com/v3/__http://yoshabunko.com/translations/Keene_Seidensticker_et_al.html*the_japanese_film__;Iw!!DZ3fjg!6xGwvNSMzdrGjScXmBgJi7tnc-L1AGHvZThjrGPsM7IKQOyloeNRmQLNisbxZ6fBwbPctti0jUQ4k8Y2W-SfpFLLGcI$>



The Japanese Film

The off-camera editoral wars
in the production of the study guide for
KQED's 1975 PBS television series
featuring Reischauer et al.



Best wishes,

Joanne





--

Joanne Bernardi, Ph.D.

Professor of Japanese and Visual & Cultural Studies

Director, Mellon Digital Humanities Grant/Meliora Digital & Interdisciplinary Fellowship Program

Dept. of Modern Languages and Cultures

University of Rochester

PO Box 270082 | Rochester NY 14627 USA



Director, Re-Envisioning Japan: Japan as Destination in 20th Century Visual and Material Culture<https://urldefense.com/v3/__https://rej.lib.rochester.edu/__;!!DZ3fjg!6xGwvNSMzdrGjScXmBgJi7tnc-L1AGHvZThjrGPsM7IKQOyloeNRmQLNisbxZ6fBwbPctti0jUQ4k8Y2W-SfL--nvWM$>

Recent publication (2023): ?Animate Objects,? Recollecting Collecting: A Film and Media Studies Perspective<https://urldefense.com/v3/__https://www.wsupress.wayne.edu/books/detail/recollecting-collecting__;!!DZ3fjg!6xGwvNSMzdrGjScXmBgJi7tnc-L1AGHvZThjrGPsM7IKQOyloeNRmQLNisbxZ6fBwbPctti0jUQ4k8Y2W-SfOYfTOM8$>.

Student work:  https://vimeo.com/joannebernardi<https://urldefense.com/v3/__https://vimeo.com/joannebernardi__;!!DZ3fjg!6xGwvNSMzdrGjScXmBgJi7tnc-L1AGHvZThjrGPsM7IKQOyloeNRmQLNisbxZ6fBwbPctti0jUQ4k8Y2W-SfhAMS_NI$>





From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of kinejapan-request at mailman.yale.edu <kinejapan-request at mailman.yale.edu>
Date: Monday, March 11, 2024 at 1:39?PM
To: kinejapan at mailman.yale.edu <kinejapan at mailman.yale.edu>
Subject: [EXT] KineJapan Digest, Vol 70, Issue 12

Send KineJapan mailing list submissions to
        kinejapan at mailman.yale.edu

To subscribe or unsubscribe via the World Wide Web, visit
        https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!CGUSO5OYRnA7CQ!dzSbgFsvs4kRWDaXq7Of--fXEclko8f6qK_gXr5F9pJLWdCAeDvcKEdzcX61ScaUwnu7ErwFpFEerke_CMUOQWJ_uEyKKE2TbYkvnQexWjVj$<https://urldefense.com/v3/__https:/mailman.yale.edu/mailman/listinfo/kinejapan__;!!CGUSO5OYRnA7CQ!dzSbgFsvs4kRWDaXq7Of--fXEclko8f6qK_gXr5F9pJLWdCAeDvcKEdzcX61ScaUwnu7ErwFpFEerke_CMUOQWJ_uEyKKE2TbYkvnQexWjVj$>
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When replying, please edit your Subject line so it is more specific
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Today's Topics:

   1. help with TV series in US in the mid-1970s (Desser, David M)
   2. Re: help with TV series in US in the mid-1970s (Earl Jackson)


----------------------------------------------------------------------

Message: 1
Date: Mon, 11 Mar 2024 16:13:48 +0000
From: "Desser, David M" <desser at illinois.edu>
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Subject: [KineJapan] help with TV series in US in the mid-1970s
Message-ID:
        <DS0PR11MB79024FD716D02AF47D2490EAAD242 at DS0PR11MB7902.namprd11.prod.outlook.com>

Content-Type: text/plain; charset="iso-8859-1"

Hi -

Help, please, from anyone as old as I with a better memory or any who are better researchers (which is probably most of you):

in 1974 or 1975 PBS in the US had a film series hosted by Edwin O. Reischauer devoted to showing, then discussing or having interviews with actors, a range of Japanese films.  Former Pacific Film Archive director Sheldon Renan was heavily involved, too.  Films like Twenty-Four Eyes, Ugetsu, Night Drum, Boy, Double Suicide, Early Summer, were part of the series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed after the showing of Sanjuro (I think it was).  I think it was called The Japanese Film.  Anyone able to confirm the year and the title?  Thanks!

David
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------------------------------

Message: 2
Date: Tue, 12 Mar 2024 01:39:33 +0800
From: Earl Jackson <earljac at gmail.com>
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Subject: Re: [KineJapan] help with TV series in US in the mid-1970s
Message-ID:
        <CABhbz8Ot8Z2oVc6aNVb_8APO6r-jympYG14dmD8=891Tu6GH2w at mail.gmail.com>
Content-Type: text/plain; charset="utf-8"

I found this page from Jan 12, 1975 NYT if that helps

Earl Jackson
Chair Professor
Foreign Languages and Literatures
Asia University
Professor Emeritus
National Chiao Tung University
Associate Professor Emeritus
University of California, Santa Cruz


On Tue, Mar 12, 2024 at 12:13?AM Desser, David M via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hi -
>
> Help, please, from anyone as old as I with a better memory or any who are
> better researchers (which is probably most of you):
>
> in 1974 or 1975 PBS in the US had a film series hosted by Edwin O.
> Reischauer devoted to showing, then discussing or having interviews with
> actors, a range of Japanese films.  Former Pacific Film Archive director
> Sheldon Renan was heavily involved, too.  Films like *Twenty-Four Eyes,
> Ugetsu, Night Drum, Boy, Double Suicide, Early Summer*, were part of the
> series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed
> after the showing of* Sanjuro *(I think it was).  I think it was called *The
> Japanese Film*.  Anyone able to confirm the year and the title?  Thanks!
>
> David
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
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------------------------------

Subject: Digest Footer

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From joanne.bernardi at rochester.edu  Mon Mar 11 14:18:58 2024
From: joanne.bernardi at rochester.edu (Bernardi, Joanne)
Date: Mon, 11 Mar 2024 18:18:58 +0000
Subject: [KineJapan] help with TV series in US in the mid-1970s
In-Reply-To: <mailman.1716.1710178791.1842.kinejapan@mailman.yale.edu>
References: <mailman.1716.1710178791.1842.kinejapan@mailman.yale.edu>
Message-ID: <SN7PR07MB9721A64FA1EA13E75E03471AE9242@SN7PR07MB9721.namprd07.prod.outlook.com>

Hi David, Earl,

I think this is the series produced by KQED, San Francisco, that I saw on TV when I was in college. I remember Edward Seidensticker, Edwin Reischauer, and others introducing and talking about a whole series of Japanese films, the most titles I had ever seen up until that point (1975). It was a year before I first went to Japan to study film at Osaka University of Arts. Someone later gave me a pamphlet that accompanied the series. I can?t find it just now and searched for it on the web instead.  I came across a scan of the pamphlet and another related one, and some info:

The pamphlet I have:

[A poster of two men holding swords  Description automatically generated]
Related one:

[A book cover with two men holding swords  Description automatically generated]

More info:
http://yoshabunko.com/translations/Keene_Seidensticker_et_al.html#the_japanese_film

(Scroll down to)
The Japanese Film
The off-camera editoral wars
in the production of the study guide for
KQED's 1975 PBS television series
featuring Reischauer et al.

The series was life-changing, literally.

Best,
Joanne


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

Director, Re-Envisioning Japan: Japan as Destination in 20th Century Visual and Material Culture<https://rej.lib.rochester.edu/>
Recent publication (2023): ?Animate Objects,? Recollecting Collecting: A Film and Media Studies Perspective<https://www.wsupress.wayne.edu/books/detail/recollecting-collecting>.



From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of kinejapan-request at mailman.yale.edu <kinejapan-request at mailman.yale.edu>
Date: Monday, March 11, 2024 at 1:39?PM
To: kinejapan at mailman.yale.edu <kinejapan at mailman.yale.edu>
Subject: [EXT] KineJapan Digest, Vol 70, Issue 12
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Today's Topics:

   1. help with TV series in US in the mid-1970s (Desser, David M)
   2. Re: help with TV series in US in the mid-1970s (Earl Jackson)


----------------------------------------------------------------------

Message: 1
Date: Mon, 11 Mar 2024 16:13:48 +0000
From: "Desser, David M" <desser at illinois.edu>
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Subject: [KineJapan] help with TV series in US in the mid-1970s
Message-ID:
        <DS0PR11MB79024FD716D02AF47D2490EAAD242 at DS0PR11MB7902.namprd11.prod.outlook.com>

Content-Type: text/plain; charset="iso-8859-1"

Hi -

Help, please, from anyone as old as I with a better memory or any who are better researchers (which is probably most of you):

in 1974 or 1975 PBS in the US had a film series hosted by Edwin O. Reischauer devoted to showing, then discussing or having interviews with actors, a range of Japanese films.  Former Pacific Film Archive director Sheldon Renan was heavily involved, too.  Films like Twenty-Four Eyes, Ugetsu, Night Drum, Boy, Double Suicide, Early Summer, were part of the series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed after the showing of Sanjuro (I think it was).  I think it was called The Japanese Film.  Anyone able to confirm the year and the title?  Thanks!

David
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------------------------------

Message: 2
Date: Tue, 12 Mar 2024 01:39:33 +0800
From: Earl Jackson <earljac at gmail.com>
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Subject: Re: [KineJapan] help with TV series in US in the mid-1970s
Message-ID:
        <CABhbz8Ot8Z2oVc6aNVb_8APO6r-jympYG14dmD8=891Tu6GH2w at mail.gmail.com>
Content-Type: text/plain; charset="utf-8"

I found this page from Jan 12, 1975 NYT if that helps

Earl Jackson
Chair Professor
Foreign Languages and Literatures
Asia University
Professor Emeritus
National Chiao Tung University
Associate Professor Emeritus
University of California, Santa Cruz


On Tue, Mar 12, 2024 at 12:13?AM Desser, David M via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hi -
>
> Help, please, from anyone as old as I with a better memory or any who are
> better researchers (which is probably most of you):
>
> in 1974 or 1975 PBS in the US had a film series hosted by Edwin O.
> Reischauer devoted to showing, then discussing or having interviews with
> actors, a range of Japanese films.  Former Pacific Film Archive director
> Sheldon Renan was heavily involved, too.  Films like *Twenty-Four Eyes,
> Ugetsu, Night Drum, Boy, Double Suicide, Early Summer*, were part of the
> series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed
> after the showing of* Sanjuro *(I think it was).  I think it was called *The
> Japanese Film*.  Anyone able to confirm the year and the title?  Thanks!
>
> David
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!CGUSO5OYRnA7CQ!dzSbgFsvs4kRWDaXq7Of--fXEclko8f6qK_gXr5F9pJLWdCAeDvcKEdzcX61ScaUwnu7ErwFpFEerke_CMUOQWJ_uEyKKE2TbYkvnQexWjVj$<https://urldefense.com/v3/__https:/mailman.yale.edu/mailman/listinfo/kinejapan__;!!CGUSO5OYRnA7CQ!dzSbgFsvs4kRWDaXq7Of--fXEclko8f6qK_gXr5F9pJLWdCAeDvcKEdzcX61ScaUwnu7ErwFpFEerke_CMUOQWJ_uEyKKE2TbYkvnQexWjVj$>
>
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------------------------------

Subject: Digest Footer

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------------------------------

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From aaron.gerow at yale.edu  Mon Mar 11 15:46:11 2024
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Mon, 11 Mar 2024 15:46:11 -0400
Subject: [KineJapan] help with TV series in US in the mid-1970s
In-Reply-To: <DS0PR11MB79024FD716D02AF47D2490EAAD242@DS0PR11MB7902.namprd11.prod.outlook.com>
References: <DS0PR11MB79024FD716D02AF47D2490EAAD242@DS0PR11MB7902.namprd11.prod.outlook.com>
Message-ID: <50748287-F408-435D-99DA-77C4B8DEE0C0@yale.edu>

I don?t have any info on this series, but I thought I might mention an earlier series broadcast in 1972. It was the Film Odyssey series on PBS which showed a range of foreign films from the Janus collection, including a couple of Kurosawa films. I watched Seven Samurai as part of the series (at age eight) and you could say it changed my life. 

https://www.criterionforum.org/forum/viewtopic.php?t=7291 <https://www.criterionforum.org/forum/viewtopic.php?t=7291>

I wonder if the series David mentions rode the coattails of this earlier series.

Aaron

> 3/11/24 ??12:13?Desser, David M via KineJapan <kinejapan at mailman.yale.edu>????:
> 
> Hi -
> 
> Help, please, from anyone as old as I with a better memory or any who are better researchers (which is probably most of you):
> 
> in 1974 or 1975 PBS in the US had a film series hosted by Edwin O. Reischauer devoted to showing, then discussing or having interviews with actors, a range of Japanese films.  Former Pacific Film Archive director Sheldon Renan was heavily involved, too.  Films like Twenty-Four Eyes, Ugetsu, Night Drum, Boy, Double Suicide, Early Summer, were part of the series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed after the showing of Sanjuro (I think it was).  I think it was called The Japanese Film.  Anyone able to confirm the year and the title?  Thanks!
> 
> David
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu <mailto:KineJapan at mailman.yale.edu>
> https://mailman.yale.edu/mailman/listinfo/kinejapan <https://mailman.yale.edu/mailman/listinfo/kinejapan>
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From desser at illinois.edu  Mon Mar 11 14:32:23 2024
From: desser at illinois.edu (Desser, David M)
Date: Mon, 11 Mar 2024 18:32:23 +0000
Subject: [KineJapan] help with TV series in US in the mid-1970s
In-Reply-To: <CABhbz8Ot8Z2oVc6aNVb_8APO6r-jympYG14dmD8=891Tu6GH2w@mail.gmail.com>
References: <DS0PR11MB79024FD716D02AF47D2490EAAD242@DS0PR11MB7902.namprd11.prod.outlook.com>
 <CABhbz8Ot8Z2oVc6aNVb_8APO6r-jympYG14dmD8=891Tu6GH2w@mail.gmail.com>
Message-ID: <DS0PR11MB7902087153832E6964A1159DAD242@DS0PR11MB7902.namprd11.prod.outlook.com>

Thanks, Earl.  It is called "The Japanese Film" indeed.  Almost 50 years ago and I remember it!'

D
________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Earl Jackson via KineJapan <kinejapan at mailman.yale.edu>
Sent: Monday, March 11, 2024 10:39 AM
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Cc: earljac at gmail.com <earljac at gmail.com>
Subject: Re: [KineJapan] help with TV series in US in the mid-1970s

I found this page from Jan 12, 1975 NYT if that helps

Earl Jackson
Chair Professor
Foreign Languages and Literatures
Asia University
Professor Emeritus
National Chiao Tung University
Associate Professor Emeritus
University of California, Santa Cruz


On Tue, Mar 12, 2024 at 12:13?AM Desser, David M via KineJapan <kinejapan at mailman.yale.edu<mailto:kinejapan at mailman.yale.edu>> wrote:
Hi -

Help, please, from anyone as old as I with a better memory or any who are better researchers (which is probably most of you):

in 1974 or 1975 PBS in the US had a film series hosted by Edwin O. Reischauer devoted to showing, then discussing or having interviews with actors, a range of Japanese films.  Former Pacific Film Archive director Sheldon Renan was heavily involved, too.  Films like Twenty-Four Eyes, Ugetsu, Night Drum, Boy, Double Suicide, Early Summer, were part of the series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed after the showing of Sanjuro (I think it was).  I think it was called The Japanese Film.  Anyone able to confirm the year and the title?  Thanks!

David
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu<mailto:KineJapan at mailman.yale.edu>
https://mailman.yale.edu/mailman/listinfo/kinejapan<https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!85NVJX9E0eFGydrOP25sPwaajPCMQQJ9TToOywJbX7pw6OCN5MkhJRV4K_XHw_lO6Pk74MVapswvgxHScBRkjPIpdJA$>
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From desser at illinois.edu  Mon Mar 11 16:45:53 2024
From: desser at illinois.edu (Desser, David M)
Date: Mon, 11 Mar 2024 20:45:53 +0000
Subject: [KineJapan] help with TV series in US in the mid-1970s
In-Reply-To: <DS0PR11MB7902087153832E6964A1159DAD242@DS0PR11MB7902.namprd11.prod.outlook.com>
References: <DS0PR11MB79024FD716D02AF47D2490EAAD242@DS0PR11MB7902.namprd11.prod.outlook.com>
 <CABhbz8Ot8Z2oVc6aNVb_8APO6r-jympYG14dmD8=891Tu6GH2w@mail.gmail.com>
 <DS0PR11MB7902087153832E6964A1159DAD242@DS0PR11MB7902.namprd11.prod.outlook.com>
Message-ID: <E9067523-7136-45EC-9A5F-87D6B9311EC5@illinois.edu>

Same here , though I had seen Rashomon and Woman in the Dunes in a theater while I was a high school student.

Sent from my iPhone

On Mar 11, 2024, at 4:03?PM, Desser, David M via KineJapan <kinejapan at mailman.yale.edu> wrote:

?
Thanks, Earl.  It is called "The Japanese Film" indeed.  Almost 50 years ago and I remember it!'

D
________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Earl Jackson via KineJapan <kinejapan at mailman.yale.edu>
Sent: Monday, March 11, 2024 10:39 AM
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Cc: earljac at gmail.com <earljac at gmail.com>
Subject: Re: [KineJapan] help with TV series in US in the mid-1970s

I found this page from Jan 12, 1975 NYT if that helps

Earl Jackson
Chair Professor
Foreign Languages and Literatures
Asia University
Professor Emeritus
National Chiao Tung University
Associate Professor Emeritus
University of California, Santa Cruz


On Tue, Mar 12, 2024 at 12:13?AM Desser, David M via KineJapan <kinejapan at mailman.yale.edu<mailto:kinejapan at mailman.yale.edu>> wrote:
Hi -

Help, please, from anyone as old as I with a better memory or any who are better researchers (which is probably most of you):

in 1974 or 1975 PBS in the US had a film series hosted by Edwin O. Reischauer devoted to showing, then discussing or having interviews with actors, a range of Japanese films.  Former Pacific Film Archive director Sheldon Renan was heavily involved, too.  Films like Twenty-Four Eyes, Ugetsu, Night Drum, Boy, Double Suicide, Early Summer, were part of the series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed after the showing of Sanjuro (I think it was).  I think it was called The Japanese Film.  Anyone able to confirm the year and the title?  Thanks!

David
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu<mailto:KineJapan at mailman.yale.edu>
https://mailman.yale.edu/mailman/listinfo/kinejapan<https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!85NVJX9E0eFGydrOP25sPwaajPCMQQJ9TToOywJbX7pw6OCN5MkhJRV4K_XHw_lO6Pk74MVapswvgxHScBRkjPIpdJA$>
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!8venvyC6GAQ3EIfHNdGCJg_c_R4Y81QOQader65IN5d1iOCGdWaH40HVZdDELdu767eK1pdMwC_Dj-FTn16WBU5wqpU$
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From nornes at umich.edu  Mon Mar 11 17:34:17 2024
From: nornes at umich.edu (Markus Nornes)
Date: Mon, 11 Mar 2024 17:34:17 -0400
Subject: [KineJapan] help with TV series in US in the mid-1970s
In-Reply-To: <E9067523-7136-45EC-9A5F-87D6B9311EC5@illinois.edu>
References: <DS0PR11MB79024FD716D02AF47D2490EAAD242@DS0PR11MB7902.namprd11.prod.outlook.com>
 <CABhbz8Ot8Z2oVc6aNVb_8APO6r-jympYG14dmD8=891Tu6GH2w@mail.gmail.com>
 <DS0PR11MB7902087153832E6964A1159DAD242@DS0PR11MB7902.namprd11.prod.outlook.com>
 <E9067523-7136-45EC-9A5F-87D6B9311EC5@illinois.edu>
Message-ID: <CANoSnpCSu+gC=_4fFbihZXm=FC=Bg_5Tqpornh-njUm+_KA+qw@mail.gmail.com>

That website is amazing, Joanne. Thanks!  (And, yes, either Aaron or I has
to give the OK for any attachments to KineJapan; sorry for the delay, but
consider it a safety feature!)

Markus



On Mon, Mar 11, 2024 at 4:46?PM Desser, David M via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Same here , though I had seen Rashomon and Woman in the Dunes in a theater
> while I was a high school student.
>
> Sent from my iPhone
>
> On Mar 11, 2024, at 4:03?PM, Desser, David M via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> ?
> Thanks, Earl.  It is called "The Japanese Film" indeed.  Almost 50 years
> ago and I remember it!'
>
> D
> ------------------------------
> *From:* KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Earl
> Jackson via KineJapan <kinejapan at mailman.yale.edu>
> *Sent:* Monday, March 11, 2024 10:39 AM
> *To:* Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
> *Cc:* earljac at gmail.com <earljac at gmail.com>
> *Subject:* Re: [KineJapan] help with TV series in US in the mid-1970s
>
> I found this page from Jan 12, 1975 NYT if that helps
>
> Earl Jackson
> Chair Professor
> Foreign Languages and Literatures
> Asia University
> Professor Emeritus
> National Chiao Tung University
> Associate Professor Emeritus
> University of California, Santa Cruz
>
>
> On Tue, Mar 12, 2024 at 12:13?AM Desser, David M via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> Hi -
>
> Help, please, from anyone as old as I with a better memory or any who are
> better researchers (which is probably most of you):
>
> in 1974 or 1975 PBS in the US had a film series hosted by Edwin O.
> Reischauer devoted to showing, then discussing or having interviews with
> actors, a range of Japanese films.  Former Pacific Film Archive director
> Sheldon Renan was heavily involved, too.  Films like *Twenty-Four Eyes,
> Ugetsu, Night Drum, Boy, Double Suicide, Early Summer*, were part of the
> series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed
> after the showing of* Sanjuro *(I think it was).  I think it was called *The
> Japanese Film*.  Anyone able to confirm the year and the title?  Thanks!
>
> David
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
> <https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!85NVJX9E0eFGydrOP25sPwaajPCMQQJ9TToOywJbX7pw6OCN5MkhJRV4K_XHw_lO6Pk74MVapswvgxHScBRkjPIpdJA$>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
>
> https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!8venvyC6GAQ3EIfHNdGCJg_c_R4Y81QOQader65IN5d1iOCGdWaH40HVZdDELdu767eK1pdMwC_Dj-FTn16WBU5wqpU$
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From swb8 at gol.com  Mon Mar 11 20:18:12 2024
From: swb8 at gol.com (shayne bowden)
Date: Tue, 12 Mar 2024 09:18:12 +0900
Subject: [KineJapan] KineJapan Digest, Vol 70, Issue 17
In-Reply-To: <mailman.2585.1710192877.1842.kinejapan@mailman.yale.edu>
References: <mailman.2585.1710192877.1842.kinejapan@mailman.yale.edu>
Message-ID: <E6F90612-7F5B-4747-9713-5DAFBFFC1007@gol.com>

Perhaps slightly off topic but I found this discussion about The Ballad of Narayama from the 80s on CUNY?s Cinema Then Cinema Now.  I think there are a few other Japanese discussed in the series and available at the Internet Archive site.
https://archive.org/details/cunytv_CTCN0054

S. Bowden

shayne bowden BA, MA (USYD)
--------------------------------------------
director of deterra 
http://www.deterra8.com
--------------------------------------------
PhD Candidate
School of Languages and Cultures
Faculty of Arts and Social Sciences 
The University of Sydney 
--------------------------------------------
shayne bowden blog
https://shaynebowden8.blogspot.com



> On Mar 12, 2024, at 6:34, kinejapan-request at mailman.yale.edu wrote:
> 
> Send KineJapan mailing list submissions to
> 	kinejapan at mailman.yale.edu
> 
> To subscribe or unsubscribe via the World Wide Web, visit
> 	https://mailman.yale.edu/mailman/listinfo/kinejapan
> or, via email, send a message with subject or body 'help' to
> 	kinejapan-request at mailman.yale.edu
> 
> You can reach the person managing the list at
> 	kinejapan-owner at mailman.yale.edu
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of KineJapan digest..."
> 
> 
> Today's Topics:
> 
>   1. Re: help with TV series in US in the mid-1970s (Desser, David M)
>   2. Re: help with TV series in US in the mid-1970s (Markus Nornes)
> 
> 
> ----------------------------------------------------------------------
> 
> Message: 1
> Date: Mon, 11 Mar 2024 20:45:53 +0000
> From: "Desser, David M" <desser at illinois.edu>
> To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
> Subject: Re: [KineJapan] help with TV series in US in the mid-1970s
> Message-ID: <E9067523-7136-45EC-9A5F-87D6B9311EC5 at illinois.edu>
> Content-Type: text/plain; charset="utf-8"
> 
> Same here , though I had seen Rashomon and Woman in the Dunes in a theater while I was a high school student.
> 
> Sent from my iPhone
> 
> On Mar 11, 2024, at 4:03?PM, Desser, David M via KineJapan <kinejapan at mailman.yale.edu> wrote:
> 
> ?
> Thanks, Earl.  It is called "The Japanese Film" indeed.  Almost 50 years ago and I remember it!'
> 
> D
> ________________________________
> From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Earl Jackson via KineJapan <kinejapan at mailman.yale.edu>
> Sent: Monday, March 11, 2024 10:39 AM
> To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
> Cc: earljac at gmail.com <earljac at gmail.com>
> Subject: Re: [KineJapan] help with TV series in US in the mid-1970s
> 
> I found this page from Jan 12, 1975 NYT if that helps
> 
> Earl Jackson
> Chair Professor
> Foreign Languages and Literatures
> Asia University
> Professor Emeritus
> National Chiao Tung University
> Associate Professor Emeritus
> University of California, Santa Cruz
> 
> 
> On Tue, Mar 12, 2024 at 12:13?AM Desser, David M via KineJapan <kinejapan at mailman.yale.edu<mailto:kinejapan at mailman.yale.edu>> wrote:
> Hi -
> 
> Help, please, from anyone as old as I with a better memory or any who are better researchers (which is probably most of you):
> 
> in 1974 or 1975 PBS in the US had a film series hosted by Edwin O. Reischauer devoted to showing, then discussing or having interviews with actors, a range of Japanese films.  Former Pacific Film Archive director Sheldon Renan was heavily involved, too.  Films like Twenty-Four Eyes, Ugetsu, Night Drum, Boy, Double Suicide, Early Summer, were part of the series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed after the showing of Sanjuro (I think it was).  I think it was called The Japanese Film.  Anyone able to confirm the year and the title?  Thanks!
> 
> David
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu<mailto:KineJapan at mailman.yale.edu>
> https://mailman.yale.edu/mailman/listinfo/kinejapan<https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!85NVJX9E0eFGydrOP25sPwaajPCMQQJ9TToOywJbX7pw6OCN5MkhJRV4K_XHw_lO6Pk74MVapswvgxHScBRkjPIpdJA$>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!8venvyC6GAQ3EIfHNdGCJg_c_R4Y81QOQader65IN5d1iOCGdWaH40HVZdDELdu767eK1pdMwC_Dj-FTn16WBU5wqpU$
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> 
> ------------------------------
> 
> Message: 2
> Date: Mon, 11 Mar 2024 17:34:17 -0400
> From: Markus Nornes <nornes at umich.edu>
> To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
> Subject: Re: [KineJapan] help with TV series in US in the mid-1970s
> Message-ID:
> 	<CANoSnpCSu+gC=_4fFbihZXm=FC=Bg_5Tqpornh-njUm+_KA+qw at mail.gmail.com>
> Content-Type: text/plain; charset="utf-8"
> 
> That website is amazing, Joanne. Thanks!  (And, yes, either Aaron or I has
> to give the OK for any attachments to KineJapan; sorry for the delay, but
> consider it a safety feature!)
> 
> Markus
> 
> 
> 
> On Mon, Mar 11, 2024 at 4:46?PM Desser, David M via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
> 
>> Same here , though I had seen Rashomon and Woman in the Dunes in a theater
>> while I was a high school student.
>> 
>> Sent from my iPhone
>> 
>> On Mar 11, 2024, at 4:03?PM, Desser, David M via KineJapan <
>> kinejapan at mailman.yale.edu> wrote:
>> 
>> ?
>> Thanks, Earl.  It is called "The Japanese Film" indeed.  Almost 50 years
>> ago and I remember it!'
>> 
>> D
>> ------------------------------
>> *From:* KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Earl
>> Jackson via KineJapan <kinejapan at mailman.yale.edu>
>> *Sent:* Monday, March 11, 2024 10:39 AM
>> *To:* Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
>> *Cc:* earljac at gmail.com <earljac at gmail.com>
>> *Subject:* Re: [KineJapan] help with TV series in US in the mid-1970s
>> 
>> I found this page from Jan 12, 1975 NYT if that helps
>> 
>> Earl Jackson
>> Chair Professor
>> Foreign Languages and Literatures
>> Asia University
>> Professor Emeritus
>> National Chiao Tung University
>> Associate Professor Emeritus
>> University of California, Santa Cruz
>> 
>> 
>> On Tue, Mar 12, 2024 at 12:13?AM Desser, David M via KineJapan <
>> kinejapan at mailman.yale.edu> wrote:
>> 
>> Hi -
>> 
>> Help, please, from anyone as old as I with a better memory or any who are
>> better researchers (which is probably most of you):
>> 
>> in 1974 or 1975 PBS in the US had a film series hosted by Edwin O.
>> Reischauer devoted to showing, then discussing or having interviews with
>> actors, a range of Japanese films.  Former Pacific Film Archive director
>> Sheldon Renan was heavily involved, too.  Films like *Twenty-Four Eyes,
>> Ugetsu, Night Drum, Boy, Double Suicide, Early Summer*, were part of the
>> series.  Donald Richie was a frequent guest; Mifune Toshiro was interviewed
>> after the showing of* Sanjuro *(I think it was).  I think it was called *The
>> Japanese Film*.  Anyone able to confirm the year and the title?  Thanks!
>> 
>> David
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu
>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>> <https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!85NVJX9E0eFGydrOP25sPwaajPCMQQJ9TToOywJbX7pw6OCN5MkhJRV4K_XHw_lO6Pk74MVapswvgxHScBRkjPIpdJA$>
>> 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu
>> 
>> https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!8venvyC6GAQ3EIfHNdGCJg_c_R4Y81QOQader65IN5d1iOCGdWaH40HVZdDELdu767eK1pdMwC_Dj-FTn16WBU5wqpU$
>> 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu
>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>> 
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> 
> ------------------------------
> 
> Subject: Digest Footer
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
> 
> 
> ------------------------------
> 
> End of KineJapan Digest, Vol 70, Issue 17
> *****************************************

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From aaron.gerow at yale.edu  Fri Mar 22 19:51:03 2024
From: aaron.gerow at yale.edu (Aaron Gerow)
Date: Fri, 22 Mar 2024 19:51:03 -0400
Subject: [KineJapan] Terada Minoru
Message-ID: <D297BB48-3157-4052-94D6-ED01802E5CD6@yale.edu>

It was announced that the Japanese actor Terada Minori passed away on the 14th of lung cancer. He was 81. Born in 1942 to the painter Terada Masaaki, he studied at the Bungakuza theater troupe before debuting in film in 1965. For film fans, he is probably most famous for starring in Okamoto Kihachi's anti-war ATG film Human Bullet, for which he won the Mainichi Concours best actor award. He also appeared in several films by Somai Shinji as well as Miyazaki Hayao's Castle in the Sky. When I saw him last summer at Yamane Sadao's memorial party, he was still full of energy. Quite a unique actor. R.I.P.

https://www.sponichi.co.jp/entertainment/news/2024/03/23/kiji/20240323s000413H4123000c.html?
??????????????????81???????????????????? - ???? Sponichi Annex ??
sponichi.co.jp

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 azahlten at fas.harvard.edu  Sat Mar 23 13:06:22 2024
From: azahlten at fas.harvard.edu (Zahlten, Alexander)
Date: Sat, 23 Mar 2024 17:06:22 +0000
Subject: [KineJapan] Screening: Soup & Ideology / Yang Yonghi at Harvard
In-Reply-To: <D297BB48-3157-4052-94D6-ED01802E5CD6@yale.edu>
References: <D297BB48-3157-4052-94D6-ED01802E5CD6@yale.edu>
Message-ID: <BYAPR07MB488892C96639A0F7813D821781302@BYAPR07MB4888.namprd07.prod.outlook.com>


Dear All,
If you are in the Cambridge (MA) area on this coming Wednesday, please do consider coming to the screening of the fascinating film Soup & Ideology, the latest work by Yang Yonghi (Dear Pyongyang, Our Homeland). Following the screening Yang Yonghi will join for a conversation with the audience.
Details can be found here:
https://rijs.fas.harvard.edu/exhibitions/film-screening-soup-and-ideology

We hope to see you there!
All best,
Alex


????????
Alexander Zahlten
Professor of East Asian Languages and Civilizations
Chair, Regional Studies East Asia (RSEA) Masters Degree Program
Harvard University
(He / him / his)











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From williamjamescarroll at gmail.com  Sat Mar 23 16:28:11 2024
From: williamjamescarroll at gmail.com (William Carroll)
Date: Sat, 23 Mar 2024 14:28:11 -0600
Subject: [KineJapan] Bleach Bypass/Desaturated Color in 1950s Japanese Cinema
Message-ID: <CAFU5t8Ein3_2+qBOBifE+15XL-pB8h=w+Fg8hg0QOK7fWQ_P-w@mail.gmail.com>

Hello everyone,

A friend of mine who is working on a project about bleach bypass and other
similar color development processes that result in desaturated colors in
global cinema. One film he's been looking at is Ichikawa Kon's *Her
Brother/Ototo*, and came across the term "ginnokoshi" ("leaving silver").
This isn't a phenomenon or term I've encountered looking at color in
Nikkatsu films from that time period, but I was wondering if anyone was
familiar with any desaturated color techniques being used in Japan in the
1950s and 1960s, or if there are any other prominent examples of people
using them.

Thanks,
Will
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From barrowmankyle at gmail.com  Sat Mar 23 17:15:01 2024
From: barrowmankyle at gmail.com (Kyle Barrowman)
Date: Sat, 23 Mar 2024 16:15:01 -0500
Subject: [KineJapan] Bleach Bypass/Desaturated Color in 1950s Japanese
 Cinema
In-Reply-To: <CAFU5t8Ein3_2+qBOBifE+15XL-pB8h=w+Fg8hg0QOK7fWQ_P-w@mail.gmail.com>
References: <CAFU5t8Ein3_2+qBOBifE+15XL-pB8h=w+Fg8hg0QOK7fWQ_P-w@mail.gmail.com>
Message-ID: <CAN46SK0SPSho4U0+jeAsSawe+kbe6ai8AtGPF99Fzg3P4y=Kjg@mail.gmail.com>

Hello, all. I have never responded to an e-mail here, so I am hoping that
this actually goes through correctly. I am currently editing an entry in
the EUP "ReFocus" series on Ichikawa and Daisuke Miyao is writing a chapter
on Ichikawa's work with Kazuo Miyagawa generally and their work on *Her
Brother *specifically. He would definitely be a good person to reach out to
about this (if he does not see this and respond himself). For a quick
answer, I do not know of this being utilized as early as the '50s or '60s
beyond *Her Brother*. If it helps, though, Ichikawa would do something
similar for his 1981 film *Lonely Heart*/*K?fuku*, at which point he was
working with Kiyoshi Hasegawa. Kiyoshi Kurosawa also used it for his 2001
film *Pulse*/*Kairo*. And then there are tons of Hollywood films that have
used it since the 1980s. But again, Daisuke is the man your friend should
contact.

I hope that this helps.

Best,

Kyle

On Sat, Mar 23, 2024 at 3:28?PM William Carroll via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hello everyone,
>
> A friend of mine who is working on a project about bleach bypass and other
> similar color development processes that result in desaturated colors in
> global cinema. One film he's been looking at is Ichikawa Kon's *Her
> Brother/Ototo*, and came across the term "ginnokoshi" ("leaving silver").
> This isn't a phenomenon or term I've encountered looking at color in
> Nikkatsu films from that time period, but I was wondering if anyone was
> familiar with any desaturated color techniques being used in Japan in the
> 1950s and 1960s, or if there are any other prominent examples of people
> using them.
>
> Thanks,
> Will
> _______________________________________________
> 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  Sun Mar 24 07:53:04 2024
From: unkleque at yahoo.com.au (quentin turnour)
Date: Sun, 24 Mar 2024 11:53:04 +0000 (UTC)
Subject: [KineJapan] BBC Radio 3 new Sounds of Cinema episode on Sakamoto
References: <1476962918.839656.1711281184884.ref@mail.yahoo.com>
Message-ID: <1476962918.839656.1711281184884@mail.yahoo.com>

The BBC radio's classical music station Radio 3 has an excellent weekly Saturday afternoon movie soundtrack program called SOUNDS OF CINEMA. Presenter Matthew Sweet knows his stuff, and ranges far beyond the usual John Williamson and too-obvious (non-Gruppo di improvvisazone) Enrico Morricone that soundtrack fan podcasts and radio programs tend to stick to. And the great thing about all the BBC radio stations is that (for the moment) they aren't geoblocked, so you can access via its Sounds website or app.
The latest episode looks at Ryuichi Sakamotos film scores, and features a thoughtful interview with his son Neo Soda, discussing CODA - apparently just getting a limited release in the UK https://www.bbc.co.uk/sounds/play/m001w1r6. 

Sweet also announced the Beeb 3 will have a new feature doco. on Sakamato in late April. Lucky Poms; Sakamoto's KAGAMI received performances in London in January, which the BBC Radio also recently covered https://www.bbc.co.uk/sounds/play/m001tsds. 

Quentin Turnour,National Archives of Australia / Cinema Reborn Film Festival.. 
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From dmiyao at ucsd.edu  Fri Mar 29 12:35:28 2024
From: dmiyao at ucsd.edu (Miyao, Daisuke)
Date: Fri, 29 Mar 2024 16:35:28 +0000
Subject: [KineJapan] New Book! - The World of the Benshi
Message-ID: <BY5PR04MB7059388CA1D081E1630DD8EDB63A2@BY5PR04MB7059.namprd04.prod.outlook.com>

Dear all,

I hope you are doing well. I am delighted to announce a publication of a new anthology, The World of the Benshi (LA: Yanai Initiative, UCLA, 2024), co-edited by Michael Emerich and myself. The book includes fascinating contributions from many members of this mailing list, including Dong Hoon Kim, Denise Khor, Colleen Laird, Chie Niita, Johan Nordstr?m, Kotaro Shibata, and Manabu Ueda. There are more than 300 beautiful images from archives and private collections in the book. Special thanks to Markus Nornes for his valuable support.

https://yanai-initiative.ucla.edu/publication/the-world-of-the-benshi

Also, as some of you may already know, there will be a Benshi world tour of unprecedented scale, "The Art of the Benshi," in April 5-26, 2024. Starting from New York and then visiting Washington, D.C., Chicago, Los Angeles, and Tokyo, a group of the benshi and musicians from Japan will perform in six distinct programs of classic, newly restored, and rarely seen silent films from Japan and the US. Here is the link to this fantastic event!

https://artofthebenshi.org

Enjoy!

Best,
Daisuke

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