From macyroger at yahoo.co.uk Thu May 2 15:42:39 2024 From: macyroger at yahoo.co.uk (Roger Macy) Date: Thu, 2 May 2024 19:42:39 +0000 (UTC) Subject: [KineJapan] FEFF: FOCUS ASIA 2024 - Japanese project POLARIS wins the TAICCA/Focus Asia Co-Production Award! In-Reply-To: <06a301da9c8b$536b0240$fa4106c0$@org> References: <06a301da9c8b$536b0240$fa4106c0$@org> Message-ID: <1800863389.10055520.1714678959316@mail.yahoo.com> Just after Yamanaka Y?ko's second feature?Desert of Namibia got selected for Cannes Quinzaine des Cin?astes, she has won the developmeny pfoject at FEFF for her project, Polaris. Her Amiko was my favourite film at Nippon Connection last year.https://www.quinzaine-cineastes.fr/en/film/desert-of-namibia Roger ----- Forwarded message ----- From: Feff Press To: Feff Press Sent: Thursday, 2 May 2024 at 14:25:11 CESTSubject: FOCUS ASIA 2024 - Japanese project POLARIS wins the TAICCA/Focus Asia Co-Production Award! ? ? ? 24 April/2 May 2024 - Udine, Italy, Teatro Nuovo and Visionario ? FOCUS ASIA 2024 Over 200 participants from 35 territories, 11 projects in development, 6 works in progress, over 300 one to one meetings. ? Japanese project POLARIS, the new feature directed by Yoko Yamanaka and produced by Shoichiro Kawashima (TWENTY FIRST CITY INC), wins the TAICCA/Focus Asia Co-Production Award! ? ? Press release for 2 May, 2024 For immediate publication/release ? UDINE ? With over 200 participants from 35 territories, 11 projects in development, 6 works in progress, 3 days of panels & case studies and over 300 one to one meetings, Focus Asia 2024 confirms his unique role in fostering artistic and production links between Asia and Europe. Within the frame of this special edition, marked by a large series of new partnerships and reinvented initiatives, the TAICCA/Focus Asia Co-Production Award, cash prize worth ?10,000, goes to the Japanese project Polaris, a portrait of the bar Polaris, that lights up in Tokyo?s night, drawing in ?women? of diverse backgrounds whose lives intertwine like constellations, only to part at down. Talented filmmaker Yoko Yamanaka begins her journey into her new feature brilliantly, just a few weeks before the world premiere of her second film, Desert of Namibia, officially selected to the Quinzaine des Cin?astes at Cannes Film Festival. The confirmation of the TAICCA award for the second consecutive year, is part of a reinforced international strategy based on a close long-lasting collaboration with a large network of Asian and European partners. ? On the Asian side, numerous partnerships were confirmed this year with the main funding and promotional entities in the Philippines, Hong Kong, Japan, Indonesia, Malaysia and Taiwan. Thanks to its collaboration with FDCP - Film Development Council of the Philippines, VIPO - Visual Industry Promotion Organization, Ministry of Education, Culture, Research, and Technology of the Republic of Indonesia and Indonesian Producer Association (APROFI), Malaysia International Film Festival (MIFFest), TAICCA - Taiwan Creative Content Agency, Focus Asia has been able to count on the direct support of the directors and producers of the projects and works in progress at this edition, with the aim of guaranteeing the physical presence of the greatest number of selected teams. But the reach of the Focus Asia 2024 partner network is not confined to the East. Focus Asia has initiated a new partnership with FFA-Filmf?rderungsanstalt / German Federal Film Board, SPCINE / Brazilian Content, RE-ACT ? Regional Audiovisual Cooperation and Training, CNA Cinema e Audiovisivo, so to offer to around twenty producers the possibility to attend the Focus Asia Lab, a bespoke programme designed in collaboration with March? du Film-Festival de Cannes to highlight the real co-production opportunities offered by South Korea, China, Japan, South East Asia, as well as to better understand the landscape of Asian distribution and Asian investing companies. Alongside the project market, works in progress and programmes to foster Asia Europe co-production, the team from Europa Distribution, the European Network of Independent Film Publishers and Distributors, have been back to Udine, once again accompanied by 20 distributors from over 15 European countries who took part for the second year in the Distribution Lab. The workshop has included case studies, group work and screenings and has been entirely dedicated to discovering and sharing best practices and innovative strategies for promoting the distribution of Asian cinema in Europe and vice versa. For the first time, a partnership has been inaugurated with Europa International, the European network of international film sales agents, allowing its member companies to join the industry programme of the Far East Film Festival. Focus Asia and Europa International have been workingtogether to elaborate and plan joint future initiatives aimed at facilitating a larger and targeted access to the wide and diverse Asian market. The framework programme of panels and case studies has also featured a brand-new partnership with Bridging the Dragon, with a session showcasing insights from leading Asian production companies on their decision to film in Europe. For future editions, there is still a lot to explore and discover, but there is no doubt that after 9 editions Focus Asia managed to create a unique ?family market? that throughout these years constantly grew, reinvented itself and dreamt big about the future, confirming a strategic leading role amongst the existing platforms dedicated to Asian and European film professionals. ? Press Office / Far East Film Festival 26 Gianmatteo Pellizzari & Ippolita Nigris Cosattini +39 0432 299545 feff at cecudine.org - stampafareastfilm at gmail.com ? Focus Asia is organized by Centro Espressioni Cinematografiche with the support of MiC-Ministero della Cultura Direzione Generale per il Cinema. It is developed in partnership with the Friuli Venezia Giulia Audiovisual Fund, EAVE, Ties That Bind, Confindustria Udine, and in collaboration with Bridging the Dragon, CNA Cinema e Audiovisivo, Europa Distribution, Europa International, FFA-Filmf?rderungsanstalt / German Federal Film Board, Film Development Council of the Philippines (FDCP), Golden Horse Film Project Promotion Taiwan, HAF Hong Kong ? Asia Film Financing Forum, Malaysia International Film Festival (MIFFest), March? du Film - Festival de Cannes, Ministry of Education, Culture, Research, and Technology of the Republic of Indonesia and Indonesian Producer Association (APROFI), RE-ACT - Regional Audiovisual Cooperation and Training, SPCINE/Brazilian Content, Taiwan Creative Content Agency (TAICCA) and Visual Industry Promotion Organization (VIPO). ? | | Privo di virus.www.avast.com | -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: FEFF 26 - focus asia - closing ENG.pdf Type: application/pdf Size: 302102 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Stephanie Li, Shoichiro Kawashima, Sabrina Baracetti.jpg Type: image/jpeg Size: 119873 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image003.png Type: image/png Size: 4154 bytes Desc: not available URL: From macyroger at yahoo.co.uk Fri May 3 01:39:52 2024 From: macyroger at yahoo.co.uk (Roger Macy) Date: Fri, 3 May 2024 05:39:52 +0000 (UTC) Subject: [KineJapan] FEFF: FOCUS ASIA 2024 - Japanese project POLARIS wins the TAICCA/Focus Asia Co-Production Award! In-Reply-To: <1800863389.10055520.1714678959316@mail.yahoo.com> References: <06a301da9c8b$536b0240$fa4106c0$@org> <1800863389.10055520.1714678959316@mail.yahoo.com> Message-ID: <1389618547.10134769.1714714792895@mail.yahoo.com> Matteo has kindly pointed out to me that the Amiko I saw and enthused about at N.C. last year was ??????, 2022 by MORIIY?suke - not the Amiko 2017 which was at the Berlin Forum in 2018. Ishould have read my own report.Roger On Thursday, 2 May 2024 at 21:43:35 CEST, Roger Macy via KineJapan wrote: Just after Yamanaka Y?ko's second feature?Desert of Namibia got selected for Cannes Quinzaine des Cin?astes, she has won the development project at FEFF for her project, Polaris. Her Amiko was my favourite film at NipponConnection last year. https://www.quinzaine-cineastes.fr/en/film/desert-of-namibia Roger ----- Forwarded message ----- From: Feff Press To: Feff Press Sent: Thursday, 2 May 2024 at 14:25:11 CESTSubject: FOCUS ASIA 2024 - Japanese project POLARIS wins the TAICCA/Focus Asia Co-Production Award! ? ? ? 24 April/2 May 2024 - Udine, Italy, Teatro Nuovo and Visionario ? FOCUS ASIA 2024 Over 200 participants from 35 territories, 11 projects in development, 6 works in progress, over 300 one to one meetings. ? Japanese project POLARIS, the new feature directed by Yoko Yamanaka and produced by Shoichiro Kawashima (TWENTY FIRST CITY INC), wins the TAICCA/Focus Asia Co-Production Award! ? ? Press release for 2 May, 2024 For immediate publication/release ? UDINE ? With over 200 participants from 35 territories, 11 projects in development, 6 works in progress, 3 days of panels & case studies and over 300 one to one meetings, Focus Asia 2024 confirms his unique role in fostering artistic and production links between Asia and Europe. Within the frame of this special edition, marked by a large series of new partnerships and reinvented initiatives, the TAICCA/Focus Asia Co-Production Award, cash prize worth ?10,000, goes to the Japanese project Polaris, a portrait of the bar Polaris, that lights up in Tokyo?s night, drawing in ?women? of diverse backgrounds whose lives intertwine like constellations, only to part at down. Talented filmmaker Yoko Yamanaka begins her journey into her new feature brilliantly, just a few weeks before the world premiere of her second film, Desert of Namibia, officially selected to the Quinzaine des Cin?astes at Cannes Film Festival. The confirmation of the TAICCA award for the second consecutive year, is part of a reinforced international strategy based on a close long-lasting collaboration with a large network of Asian and European partners. ? On the Asian side, numerous partnerships were confirmed this year with the main funding and promotional entities in the Philippines, Hong Kong, Japan, Indonesia, Malaysia and Taiwan. Thanks to its collaboration with FDCP - Film Development Council of the Philippines, VIPO - Visual Industry Promotion Organization, Ministry of Education, Culture, Research, and Technology of the Republic of Indonesia and Indonesian Producer Association (APROFI), Malaysia International Film Festival (MIFFest), TAICCA - Taiwan Creative Content Agency, Focus Asia has been able to count on the direct support of the directors and producers of the projects and works in progress at this edition, with the aim of guaranteeing the physical presence of the greatest number of selected teams. But the reach of the Focus Asia 2024 partner network is not confined to the East. Focus Asia has initiated a new partnership with FFA-Filmf?rderungsanstalt / German Federal Film Board, SPCINE / Brazilian Content, RE-ACT ? Regional Audiovisual Cooperation and Training, CNA Cinema e Audiovisivo, so to offer to around twenty producers the possibility to attend the Focus Asia Lab, a bespoke programme designed in collaboration with March? du Film-Festival de Cannes to highlight the real co-production opportunities offered by South Korea, China, Japan, South East Asia, as well as to better understand the landscape of Asian distribution and Asian investing companies. Alongside the project market, works in progress and programmes to foster Asia Europe co-production, the team from Europa Distribution, the European Network of Independent Film Publishers and Distributors, have been back to Udine, once again accompanied by 20 distributors from over 15 European countries who took part for the second year in the Distribution Lab. The workshop has included case studies, group work and screenings and has been entirely dedicated to discovering and sharing best practices and innovative strategies for promoting the distribution of Asian cinema in Europe and vice versa. For the first time, a partnership has been inaugurated with Europa International, the European network of international film sales agents, allowing its member companies to join the industry programme of the Far East Film Festival. Focus Asia and Europa International have been workingtogether to elaborate and plan joint future initiatives aimed at facilitating a larger and targeted access to the wide and diverse Asian market. The framework programme of panels and case studies has also featured a brand-new partnership with Bridging the Dragon, with a session showcasing insights from leading Asian production companies on their decision to film in Europe. For future editions, there is still a lot to explore and discover, but there is no doubt that after 9 editions Focus Asia managed to create a unique ?family market? that throughout these years constantly grew, reinvented itself and dreamt big about the future, confirming a strategic leading role amongst the existing platforms dedicated to Asian and European film professionals. ? Press Office / Far East Film Festival 26 Gianmatteo Pellizzari & Ippolita Nigris Cosattini +39 0432 299545 feff at cecudine.org - stampafareastfilm at gmail.com ? Focus Asia is organized by Centro Espressioni Cinematografiche with the support of MiC-Ministero della Cultura Direzione Generale per il Cinema. It is developed in partnership with the Friuli Venezia Giulia Audiovisual Fund, EAVE, Ties That Bind, Confindustria Udine, and in collaboration with Bridging the Dragon, CNA Cinema e Audiovisivo, Europa Distribution, Europa International, FFA-Filmf?rderungsanstalt / German Federal Film Board, Film Development Council of the Philippines (FDCP), Golden Horse Film Project Promotion Taiwan, HAF Hong Kong ? Asia Film Financing Forum, Malaysia International Film Festival (MIFFest), March? du Film - Festival de Cannes, Ministry of Education, Culture, Research, and Technology of the Republic of Indonesia and Indonesian Producer Association (APROFI), RE-ACT - Regional Audiovisual Cooperation and Training, SPCINE/Brazilian Content, Taiwan Creative Content Agency (TAICCA) and Visual Industry Promotion Organization (VIPO). ? | | Privo di virus.www.avast.com | _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image003.png Type: image/png Size: 4154 bytes Desc: not available URL: From annekmcknight at gmail.com Wed May 8 00:51:59 2024 From: annekmcknight at gmail.com (Anne McKnight) Date: Tue, 7 May 2024 21:51:59 -0700 Subject: [KineJapan] =?utf-8?b?U3RpbGxzIGZyb20gVMWNaMWN?= Message-ID: Hi all~ Would anyone have a contact at T?h? for stills permissions/purchase? I?m nearing the end of a book, a long translation and essay on Kurosawa Akira, and need to get permissions for 2 stills that Kurosawa Pro does not have; they told me to inquire at T?h?. Stills are from ???????and from ???????. It?s possible Kurosawa Pro might introduce me to the right person, but in the interest of wrapping this up, if anyone has worked with someone lately and would be comfortable with relaying the contact, either here or via personal email, I would be super appreciative. Thanks! Anne ~~~~~~~~~~~~~~~~~~~~~ Associate Professor, Dept of Comparative Literature and Languages/Japanese Mail: 2401 HMNSS Building UC Riverside, Riverside CA, 92521 USA From nornes at umich.edu Wed May 8 02:43:45 2024 From: nornes at umich.edu (Markus Nornes) Date: Wed, 8 May 2024 15:43:45 +0900 Subject: [KineJapan] =?utf-8?b?U3RpbGxzIGZyb20gVMWNaMWN?= In-Reply-To: References: Message-ID: Good luck. Toho is tough. And by that I mean a bad combination of possessiveness and disinterest. I?d go through the Kurosawa family. But if you find yourself running up against brick walls, I?d use Most Beautiful. It should be in the public domain now. Markus --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Homepage: http://www-personal.umich.edu/~nornes/ * *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street**Ann Arbor, MI 48109-1285* On Wed, May 8, 2024 at 1:52 PM Anne McKnight via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hi all~ > > Would anyone have a contact at T?h? for stills permissions/purchase? I?m > nearing the end of a book, a long translation and essay on Kurosawa Akira, > and need to get permissions for 2 stills that Kurosawa Pro does not have; > they told me to inquire at T?h?. Stills are from ???????and from ???????. > It?s possible Kurosawa Pro might introduce me to the right person, but in > the interest of wrapping this up, if anyone has worked with someone lately > and would be comfortable with relaying the contact, either here or via > personal email, I would be super appreciative. > > Thanks! > > Anne > > ~~~~~~~~~~~~~~~~~~~~~ > Associate Professor, Dept of Comparative Literature and Languages/Japanese > Mail: 2401 HMNSS Building > UC Riverside, Riverside CA, 92521 USA > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Wed May 8 02:51:46 2024 From: earljac at gmail.com (Earl Jackson) Date: Wed, 8 May 2024 14:51:46 +0800 Subject: [KineJapan] =?utf-8?b?U3RpbGxzIGZyb20gVMWNaMWN?= In-Reply-To: References: Message-ID: Hi Ann, When Victor Fan and I coedited Nang, we even had a special agent mediate contract with Toho and it was a nightmare of irrationality and bizarre indifference. I hope you fare better. 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 Wed, May 8, 2024 at 12:52?PM Anne McKnight via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hi all~ > > Would anyone have a contact at T?h? for stills permissions/purchase? I?m > nearing the end of a book, a long translation and essay on Kurosawa Akira, > and need to get permissions for 2 stills that Kurosawa Pro does not have; > they told me to inquire at T?h?. Stills are from ???????and from ???????. > It?s possible Kurosawa Pro might introduce me to the right person, but in > the interest of wrapping this up, if anyone has worked with someone lately > and would be comfortable with relaying the contact, either here or via > personal email, I would be super appreciative. > > Thanks! > > Anne > > ~~~~~~~~~~~~~~~~~~~~~ > Associate Professor, Dept of Comparative Literature and Languages/Japanese > Mail: 2401 HMNSS Building > UC Riverside, Riverside CA, 92521 USA > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From dmiyao at ucsd.edu Wed May 8 13:32:31 2024 From: dmiyao at ucsd.edu (Miyao, Daisuke) Date: Wed, 8 May 2024 17:32:31 +0000 Subject: [KineJapan] =?utf-8?b?U3RpbGxzIGZyb20gVMWNaMWN?= In-Reply-To: References: Message-ID: Dear Ann, I had a similar experience. I decided not to include stills from Neko to Shozo in Cinema Is a Cat. Too bad because they do have wonderful images! (And the film is not available on DVD, either!) I hope the things will change for the better! Best, Daisuke Daisuke Miyao Professor and Hajime Mori Chair in Japanese Language and Literature Director of Film Studies University of California, San Diego ________________________________ From: KineJapan on behalf of Earl Jackson via KineJapan Sent: Tuesday, May 7, 2024 11:51 PM To: Japanese Cinema Discussion Forum Cc: Earl Jackson Subject: Re: [KineJapan] Stills from T?h? Hi Ann, When Victor Fan and I coedited Nang, we even had a special agent mediate contract with Toho and it was a nightmare of irrationality and bizarre indifference. I hope you fare better. 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 Wed, May 8, 2024 at 12:52?PM Anne McKnight via KineJapan > wrote: Hi all~ Would anyone have a contact at T?h? for stills permissions/purchase? I?m nearing the end of a book, a long translation and essay on Kurosawa Akira, and need to get permissions for 2 stills that Kurosawa Pro does not have; they told me to inquire at T?h?. Stills are from ???????and from ???????. It?s possible Kurosawa Pro might introduce me to the right person, but in the interest of wrapping this up, if anyone has worked with someone lately and would be comfortable with relaying the contact, either here or via personal email, I would be super appreciative. Thanks! Anne ~~~~~~~~~~~~~~~~~~~~~ Associate Professor, Dept of Comparative Literature and Languages/Japanese Mail: 2401 HMNSS Building UC Riverside, Riverside CA, 92521 USA _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From jasper_sharp at hotmail.com Wed May 8 17:12:43 2024 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Wed, 8 May 2024 21:12:43 +0000 Subject: [KineJapan] =?utf-8?b?U3RpbGxzIGZyb20gVMWNaMWN?= In-Reply-To: References: Message-ID: In defense of Toho, I believe they are more circumspect with publicity materials like stills for the films of Kurosawa and Honda due to issues with the estates of these directors. That aside, as with any of the major studios, if you ask for image production permissions or access, they'll quote some outlandish fee, just because of inhouse bureaucracy and the fact they've got bigger fish to fry. I've no contact myself at Toho, but I suspect if you did try, they'd probably ignore or dismiss your request and you are probably better off asking Kawakita instead- who in my experience have more stills for most films than the studios do themselves. ________________________________ From: KineJapan on behalf of Miyao, Daisuke via KineJapan Sent: 08 May 2024 18:32 To: Japanese Cinema Discussion Forum Cc: Miyao, Daisuke Subject: Re: [KineJapan] Stills from T?h? Dear Ann, I had a similar experience. I decided not to include stills from Neko to Shozo in Cinema Is a Cat. Too bad because they do have wonderful images! (And the film is not available on DVD, either!) I hope the things will change for the better! Best, Daisuke Daisuke Miyao Professor and Hajime Mori Chair in Japanese Language and Literature Director of Film Studies University of California, San Diego ________________________________ From: KineJapan on behalf of Earl Jackson via KineJapan Sent: Tuesday, May 7, 2024 11:51 PM To: Japanese Cinema Discussion Forum Cc: Earl Jackson Subject: Re: [KineJapan] Stills from T?h? Hi Ann, When Victor Fan and I coedited Nang, we even had a special agent mediate contract with Toho and it was a nightmare of irrationality and bizarre indifference. I hope you fare better. 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 Wed, May 8, 2024 at 12:52?PM Anne McKnight via KineJapan > wrote: Hi all~ Would anyone have a contact at T?h? for stills permissions/purchase? I?m nearing the end of a book, a long translation and essay on Kurosawa Akira, and need to get permissions for 2 stills that Kurosawa Pro does not have; they told me to inquire at T?h?. Stills are from ???????and from ???????. It?s possible Kurosawa Pro might introduce me to the right person, but in the interest of wrapping this up, if anyone has worked with someone lately and would be comfortable with relaying the contact, either here or via personal email, I would be super appreciative. Thanks! Anne ~~~~~~~~~~~~~~~~~~~~~ Associate Professor, Dept of Comparative Literature and Languages/Japanese Mail: 2401 HMNSS Building UC Riverside, Riverside CA, 92521 USA _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Wed May 8 19:26:16 2024 From: nornes at umich.edu (Markus Nornes) Date: Thu, 9 May 2024 08:26:16 +0900 Subject: [KineJapan] =?utf-8?b?U3RpbGxzIGZyb20gVMWNaMWN?= In-Reply-To: References: Message-ID: J-Flicks on NHK World has told me something akin to what Jasper wrote. They are starting a classics bit for each episode now, and I'll be doing the first batch. They are keen on big, famous directors (Ozu again), and 1953 is their cut-off date. I find their willingness to take the public domain rule refreshing. But when I suggested doing pre-1953 Kurosawa they immediately said no. The family was aggressive and problematic. It isn't worth the predictable fight. Markus --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Homepage: http://www-personal.umich.edu/~nornes/ * *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street**Ann Arbor, MI 48109-1285* On Thu, May 9, 2024 at 6:16?AM Jasper Sharp via KineJapan < kinejapan at mailman.yale.edu> wrote: > In defense of Toho, I believe they are more circumspect with publicity > materials like stills for the films of Kurosawa and Honda due to issues > with the estates of these directors. That aside, as with any of the major > studios, if you ask for image production permissions or access, they'll > quote some outlandish fee, just because of inhouse bureaucracy and the fact > they've got bigger fish to fry. I've no contact myself at Toho, but I > suspect if you did try, they'd probably ignore or dismiss your request and > you are probably better off asking Kawakita instead- who in my experience > have more stills for most films than the studios do themselves. > > > ------------------------------ > *From:* KineJapan on behalf of > Miyao, Daisuke via KineJapan > *Sent:* 08 May 2024 18:32 > *To:* Japanese Cinema Discussion Forum > *Cc:* Miyao, Daisuke > *Subject:* Re: [KineJapan] Stills from T?h? > > Dear Ann, > > I had a similar experience. I decided not to include stills from *Neko to > Shozo* in *Cinema Is a Cat*. Too bad because they do have wonderful > images! (And the film is not available on DVD, either!) I hope the things > will change for the better! > > Best, > Daisuke > > Daisuke Miyao > Professor and Hajime Mori Chair in Japanese Language and Literature > Director of Film Studies > University of California, San Diego > > > ------------------------------ > *From:* KineJapan on behalf of Earl > Jackson via KineJapan > *Sent:* Tuesday, May 7, 2024 11:51 PM > *To:* Japanese Cinema Discussion Forum > *Cc:* Earl Jackson > *Subject:* Re: [KineJapan] Stills from T?h? > > Hi Ann, > When Victor Fan and I coedited Nang, we even had a special agent mediate > contract with Toho and it was a nightmare of irrationality and > bizarre indifference. I hope you fare better. > 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 Wed, May 8, 2024 at 12:52?PM Anne McKnight via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > Hi all~ > > Would anyone have a contact at T?h? for stills permissions/purchase? I?m > nearing the end of a book, a long translation and essay on Kurosawa Akira, > and need to get permissions for 2 stills that Kurosawa Pro does not have; > they told me to inquire at T?h?. Stills are from ???????and from ???????. > It?s possible Kurosawa Pro might introduce me to the right person, but in > the interest of wrapping this up, if anyone has worked with someone lately > and would be comfortable with relaying the contact, either here or via > personal email, I would be super appreciative. > > Thanks! > > Anne > > ~~~~~~~~~~~~~~~~~~~~~ > Associate Professor, Dept of Comparative Literature and Languages/Japanese > Mail: 2401 HMNSS Building > UC Riverside, Riverside CA, 92521 USA > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From annekmcknight at gmail.com Wed May 8 20:43:41 2024 From: annekmcknight at gmail.com (Anne McKnight) Date: Wed, 8 May 2024 17:43:41 -0700 Subject: [KineJapan] =?utf-8?b?U3RpbGxzIGZyb20gVMWNaMWN?= In-Reply-To: References: Message-ID: Hi Markus, Earl, Daisuke, Jasper and everyone~ Thanks for all your insights, and sorry to hear about this uniform terrible-ness! It?s funny, I just translated Kurosawa watching his own series on TV, and loving it because it could interest a whole new?baffling, to him?generation to his stuff! I have not been able to find a contact on line for T?h??so I?ll see if Kurosawa Pro can help me out, and if not, go with the screenshots, and not for lack of trying? Kawakita is a good suggestion?a note to add is that the rights-holder is probably still going to be Kurosawa Pro. Sorry to be dense, Jasper, but are you suggesting I ask Kawakita to intermediate? Or rather that they might have an image I can swap out? (I have been trying to duplicate the originals as much as possible, which are apparently lost in the mists of Bungei shunj? history?). Anne > On May 8, 2024, at 4:26?PM, Markus Nornes via KineJapan wrote: > > J-Flicks on NHK World has told me something akin to what Jasper wrote. They are starting a classics bit for each episode now, and I'll be doing the first batch. They are keen on big, famous directors (Ozu again), and 1953 is their cut-off date. I find their willingness to take the public domain rule refreshing. > > But when I suggested doing pre-1953 Kurosawa they immediately said no. The family was aggressive and problematic. It isn't worth the predictable fight. > > Markus > > > > > --- > > Markus Nornes > Professor of Asian Cinema > Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design > > Homepage: http://www-personal.umich.edu/~nornes/ > Department of Film, Television and Media > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285 > > > > On Thu, May 9, 2024 at 6:16?AM Jasper Sharp via KineJapan > wrote: >> In defense of Toho, I believe they are more circumspect with publicity materials like stills for the films of Kurosawa and Honda due to issues with the estates of these directors. That aside, as with any of the major studios, if you ask for image production permissions or access, they'll quote some outlandish fee, just because of inhouse bureaucracy and the fact they've got bigger fish to fry. I've no contact myself at Toho, but I suspect if you did try, they'd probably ignore or dismiss your request and you are probably better off asking Kawakita instead- who in my experience have more stills for most films than the studios do themselves. >> >> >> From: KineJapan > on behalf of Miyao, Daisuke via KineJapan > >> Sent: 08 May 2024 18:32 >> To: Japanese Cinema Discussion Forum > >> Cc: Miyao, Daisuke > >> Subject: Re: [KineJapan] Stills from T?h? >> >> Dear Ann, >> >> I had a similar experience. I decided not to include stills from Neko to Shozo in Cinema Is a Cat. Too bad because they do have wonderful images! (And the film is not available on DVD, either!) I hope the things will change for the better! >> >> Best, >> Daisuke >> >> Daisuke Miyao >> Professor and Hajime Mori Chair in Japanese Language and Literature >> Director of Film Studies >> University of California, San Diego >> >> >> From: KineJapan > on behalf of Earl Jackson via KineJapan > >> Sent: Tuesday, May 7, 2024 11:51 PM >> To: Japanese Cinema Discussion Forum > >> Cc: Earl Jackson > >> Subject: Re: [KineJapan] Stills from T?h? >> >> Hi Ann, >> When Victor Fan and I coedited Nang, we even had a special agent mediate contract with Toho and it was a nightmare of irrationality and >> bizarre indifference. I hope you fare better. >> 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 Wed, May 8, 2024 at 12:52?PM Anne McKnight via KineJapan > wrote: >> Hi all~ >> >> Would anyone have a contact at T?h? for stills permissions/purchase? I?m nearing the end of a book, a long translation and essay on Kurosawa Akira, and need to get permissions for 2 stills that Kurosawa Pro does not have; they told me to inquire at T?h?. Stills are from ???????and from ???????. It?s possible Kurosawa Pro might introduce me to the right person, but in the interest of wrapping this up, if anyone has worked with someone lately and would be comfortable with relaying the contact, either here or via personal email, I would be super appreciative. >> >> Thanks! >> >> Anne >> >> ~~~~~~~~~~~~~~~~~~~~~ >> Associate Professor, Dept of Comparative Literature and Languages/Japanese >> Mail: 2401 HMNSS Building >> UC Riverside, Riverside CA, 92521 USA >> >> _______________________________________________ >> 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From unkleque at yahoo.com.au Wed May 8 21:32:42 2024 From: unkleque at yahoo.com.au (quentin turnour) Date: Thu, 9 May 2024 01:32:42 +0000 (UTC) Subject: [KineJapan] =?utf-8?b?U3RpbGxzIGZyb20gVMWNaMWN?= In-Reply-To: References: Message-ID: <1801837235.583215.1715218362330@mail.yahoo.com> A question, because I'm not over Japanese copyright law, and haven't fully read or understood what's at https://www.cric.or.jp/english/clj/cl2.html : Many countries have 1952 or so as a cut-off date for PD, as the Berne agreement makes it a date. Is NHK's use of 1953 related to that?? >From what I know Japan has on paper pretty standard 'fair dealing' IP law, not 'fair use' (as is the USA), and also has moral rights which mean 'authors' who died after 1967 have rights for 70 years after death (and AK died in 1998, of course). This seemed to be the case from a partially-English forum on Japanese copyright law and cinema at Yamagata maybe 10 years back. Fair dealings is a tighter IP environment, which is why the US can have the Internet Archive and most other nations nothing like it. However, the additional issue often talked about here is the annoying risk-adverse legal, corporate and public-culture environment in Japan. So whatever the law says, or reforms reported (https://asia.nikkei.com/Business/Media-Entertainment/Japan-to-allow-freer-sharing-of-content-with-obscure-copyrights) actually behaviour is another thing.? In the US, IP risk-taking tends gets tested in the courts. Can anyone thing of recent Japanese legal cases where IP law boundaries related to cultural production get tested, such as with the Internet Archive's recent fight with the US publishing industry? Quentin Turnour On Thursday, 9 May 2024 at 09:26:37 am AEST, Markus Nornes via KineJapan wrote: J-Flicks on NHK World has told me something akin to what Jasper wrote. They are starting a classics bit for each episode now, and I'll be doing the first batch. They are keen on big, famous directors (Ozu again), and 1953 is their cut-off date. I find their willingness to take the public domain rule refreshing.? But when I suggested doing pre-1953 Kurosawa they immediately said no. The family was aggressive and problematic. It isn't worth the predictable fight.? Markus ---? Markus NornesProfessor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design ? Homepage: http://www-personal.umich.edu/~nornes/ Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 On Thu, May 9, 2024 at 6:16?AM Jasper Sharp via KineJapan wrote: In defense of Toho, I believe they are more circumspect with publicity materials like stills for the films of Kurosawa and Honda due to issues with the estates of these directors. That aside, as with any of the major studios, if you ask for image production permissions or access, they'll quote some outlandish fee, just because of inhouse bureaucracy and the fact they've got bigger fish to fry. I've no contact myself at Toho, but I suspect if you did try, they'd probably ignore or dismiss your request and you are probably better off asking Kawakita instead- who in my experience have more stills for most films than the studios do themselves. From: KineJapan on behalf of Miyao, Daisuke via KineJapan Sent: 08 May 2024 18:32 To: Japanese Cinema Discussion Forum Cc: Miyao, Daisuke Subject: Re: [KineJapan] Stills from T?h??Dear Ann, I had a similar?experience. I decided not to include stills from Neko to Shozo?inCinema Is a Cat. Too bad because they do have wonderful images! ?(And the film is not available on DVD, either!) I hope the things will change for the better! Best,Daisuke Daisuke MiyaoProfessor and Hajime Mori Chair in Japanese Language and LiteratureDirector of Film StudiesUniversity of California, San Diego From: KineJapan on behalf of Earl Jackson via KineJapan Sent: Tuesday, May 7, 2024 11:51 PM To: Japanese Cinema Discussion Forum Cc: Earl Jackson Subject: Re: [KineJapan] Stills from T?h??Hi Ann,When Victor Fan and I coedited Nang, we even had a special agent mediate contract with Toho and it was a nightmare of irrationality andbizarre indifference. I hope?you fare better.bestej Earl JacksonChair ProfessorForeign Languages and LiteraturesAsia UniversityProfessor EmeritusNational Chiao Tung UniversityAssociate Professor EmeritusUniversity of California, Santa Cruz On Wed, May 8, 2024 at 12:52?PM Anne McKnight via KineJapan wrote: Hi all~ Would anyone have a contact at T?h? for stills permissions/purchase? I?m nearing the end of a book, a long translation and essay on Kurosawa Akira, and need to get permissions for 2 stills that Kurosawa Pro does not have; they told me to inquire at T?h?. Stills are from ???????and from ???????.? It?s possible Kurosawa Pro might introduce me to the right person, but in the interest of wrapping this up, if anyone has worked with someone lately and would be comfortable with relaying the contact, either here or via personal email, I would be super appreciative. Thanks! Anne ~~~~~~~~~~~~~~~~~~~~~ Associate Professor, Dept of Comparative Literature and Languages/Japanese Mail: 2401 HMNSS Building UC Riverside, Riverside CA, 92521? USA _______________________________________________ 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Wed May 8 22:54:24 2024 From: aaron.gerow at yale.edu (Aaron Gerow) Date: Wed, 8 May 2024 22:54:24 -0400 Subject: [KineJapan] =?utf-8?b?U3RpbGxzIGZyb20gVMWNaMWN?= In-Reply-To: References:

Message-ID: In the old days, Kawakita was the source for stills and it seemed most books on Japanese film got their stills from them. I think they were a lot more lenient then, basically given people stills and letting them publish them, but in recent years they are mostly just providing the images and insisting that you still need to get permission from the copyright owner if the image is not public domain (that?s what they said to me with one of my books). Perhaps they can serve as an intermediary, but just because they provided you with a still does not mean they?ve given you permission to use it. Aaron Gerow From jasper_sharp at hotmail.com Thu May 9 04:34:08 2024 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Thu, 9 May 2024 08:34:08 +0000 Subject: [KineJapan] =?cp1257?q?Stills_from_T=F4h=F4?= In-Reply-To: References:

Message-ID: Yes, Aaron is correct - Kawakita can supply you with the stills, and will do so very quickly and efficiently, but not the permission to use them. However, if you are dealing with the Kurosawa Estate directly, you should be covered in this regard, and possibly contacting Toho about it could be muddying the waters, because I suspect it won't be top of their agenda and if they do reply, they'll come up with some outrageous fee to discourage you. The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. ________________________________ From: KineJapan on behalf of Aaron Gerow via KineJapan Sent: 09 May 2024 03:54 To: Japanese Cinema Discussion Forum Cc: Aaron Gerow Subject: Re: [KineJapan] Stills from T?h? In the old days, Kawakita was the source for stills and it seemed most books on Japanese film got their stills from them. I think they were a lot more lenient then, basically given people stills and letting them publish them, but in recent years they are mostly just providing the images and insisting that you still need to get permission from the copyright owner if the image is not public domain (that?s what they said to me with one of my books). Perhaps they can serve as an intermediary, but just because they provided you with a still does not mean they?ve given you permission to use it. Aaron Gerow _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://gbr01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&data=05%7C02%7C%7C4a747290e44c4a41d80e08dc6fd3624e%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C638508200912026480%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C0%7C%7C%7C&sdata=mz%2B%2FBp9QMbnXJoHg%2FvaAe6ND4jQ%2B8tmCFqj1pqUl%2BB0%3D&reserved=0 -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija.niskanen at gmail.com Fri May 17 06:55:48 2024 From: eija.niskanen at gmail.com (Eija Niskanen/HCA) Date: Fri, 17 May 2024 13:55:48 +0300 Subject: [KineJapan] New History books in schools Message-ID: Hi! Is there anywhere statisics, how big part of Japanese schools are using the new history books (meaning the ones that deny wartime attrocities by Japanese Imperial army)? Are these books more prevalent in public or private schools? Best, Eija -- Eija Niskanen +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Sun May 19 07:22:45 2024 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 19 May 2024 11:22:45 +0000 (UTC) Subject: [KineJapan] Fw: Japan triumphs at FEFF 26: Mihara Mitsuhiro's "Takano Tofu" takes home the Golden Mulberry In-Reply-To: <024801da9d3d$76d83e20$6488ba60$@org> References: <024801da9d3d$76d83e20$6488ba60$@org> Message-ID: <544766544.2446684.1716117765682@mail.yahoo.com> As you can see from the announcement below, two Japanesefilms got the audience awards at Udinethis year. Takano Tofu, written and directed by Mihara Mitsuhiro, won top prize.Mark Schilling, in the film?s festivalblurb, said ?Not that the film is in any way an Ozu homage.? That is, apartfrom it being set in Onomichi; the plot revolving around a widowed fathergetting his daughter married, with mutual non-disclosures; Fuji Tatsuya, actingthe father, donning a Ry? Chish? accent in some scenes; and he makes tofu.There are also numerous punctuation shots, only some of which depict movingtrains. For all that, I concede that it?s not made in Ozu?s style but in thefamiliar style of a Japanese heart-warming comedy. I wouldn?t condemn it as asit-com. In too many sit-coms, the characters have to forget, for each gag,their previous experiences. This was the opposite: there were straight scenesand hammed-up scenes, but all the characters brought forward their experiencein both kinds of scene. And, yes, the film did win me over. Confetti also succeeded, through its script by Suzuyuki Kaneko, intransforming several familiar elements of a teen drama into something more interesting.As Mark Schilling?s intelligent reviewsays, ?its focus is less on challenging heteronormative prejudice than showingthe transformative power of theater?. I found other interesting Japanesefilms at Udine in a necessarilyshort stay. missing, by Yoshida Keisuke, entirely lacks any feel-goodfactor for an audience award. It brought me back to one of the bleakestdocumentaries I have seen ? Barzakh, lit.: Limbo, 2011, by Manta Kvedavari?ius, a documentary on the samesubject, albeit set in Chechnya.After a screening at the Dochouse in London,? SarahWhittaker, a clinical psychologist ? spoke that, of the obstacles to copingwith a disappearance, the greatest of these is hope. She did not directly alludeto 1 Corinthians, but the inversion of Paul left her point in my ears. Sen?ya,ichiya, 2022, (not at this festival) directed by Kubota Nao, script Aoki Kenji,touched on the same subject, but Yoshida?s target was the exploitation of hope,particularly through social media. The good news is that all of thesefilms are also slated at Nippon Connection this year. Roger ----- Forwarded message ----- From: Feff Press To: Feff Press Sent: Friday, 3 May 2024 at 13:43:23 GMT+4Subject: Japan triumphs at FEFF 26: Mihara Mitsuhiro's "Takano Tofu" takes home the Golden Mulberry! ? ? ? ? 24 April/2 May 2024 - Udine, Italy, Teatro Nuovo and Visionario ? Japan triumphs at FEFF 26: Takano Tofu takes home the Golden Mulberry and Confetti wins the Silver Mulberry! ? On the third step of the podium, Hong Kong's Time Still Turns the Pages. ? The 2024 edition concludes with three new records: 65,000 spectators, 3,000 guests and 1,700 pass holders. ? ? Press release for the 3rd of May, 2024 For immediate publication/release ? UDINE ? "It's the first time I've been to the Far East Film Festival, which is a very big and very important event for us Asian filmmakers. You know: it's rare today to find 1,200 people attending a film screening. It's rare anywhere in the world. And I am deeply moved to see such a full cinema, without empty seats, and to see how much you love our work! I will be coming back here to the Teatro Nuovo in Udine, which is a beautiful city, because you have really moved me..." Zhang Yimou's words contain more than just happiness at an enthusiastic welcome for an art form ? cinema ? which is once again starting to soar: they contain the very meaning of the Far East Film Festival. A freewheeling, exuberant journey through Asia's pop-culture soul. A long love affair which since 1999 has never stopped forging bonds between East and West. In confirmation of the fact that cinema is once again starting to fly, FEFF 26 brought to Udine 79 films (12 world premieres, 22 international premieres, 23 European premieres and 19 Italian premieres), 228 guests of honour (including, of course, the legendary Zhang Yimou, winner of the Golden Mulberry Award for Lifetime Achievement and protagonist of a memorable masterclass) and 65,000 spectators. And, in line with a tradition dating back to FEFF 01, it was the votes of the public itself that decided this year's winners. Japan dominated the 2024 Audience Awards, triumphing with Mihara Mitsuhiro's moving Takano Tofu (Golden Mulberry) and also coming second with Fujita Naoya's deeply touching Confetti (Silver Mulberry). Third place went to one of the cinematic highlights of the season: Time Still Turns the Pages by Hong Kong director Nick Cheuk (Crystal Mulberry). Japan also made sparks with Black Dragon pass holders (who voted for Shiraishi Kazuya's samurai movie Bushido) and the MYmovies community (who chose Takano Tofu). The jurors of the first feature section (Anthony Chen, Edouard Waintrop and Matsuzaki Kaoru) awarded the White Mulberry to South Korean romance Mimang by Kim Tae-yang while the Mulberry for Best Screenplay went to action comedy Citizen of a Kind by South Korean director Park Young-ju (selected by some of the jurors of Gorizia's "Sergio Amidei" International Best Screenplay Award: Massimo Gaudioso, Marco Risi, Doriana Leondeff and Francesco Munzi). A record number of more than 3,000 guests were lodged in accommodation around the city by FEFF 26, and the number of pass holders also reached a record high: 1,700 - an increase of 25% over 2023 - made up of enthusiasts, journalists, experts, professionals, and the FEFF-curious, it's worth underlining, 130 university cinema students (from Italy, United Kingdom, Austria, Slovakia, Hungary and Singapore), showing just how much interest there was even among younger Fareasters. Over 200 professionals arrived from all over Europe for the Focus Asia industry sessions and around 15,000 people took part in the FEFF Events taking place across the centre of Udine. And last but not least, the online FEFF, streaming on the MYmovies ONE platform, recorded 8,775 attendees from 200 Italian municipalities. The top city for online users was Milan, followed by Rome and Turin, and the most streamed films were the Alienoid saga (with 1,500 hours of viewing) and Takano Tofu (with 624 hours of viewing). So all that remains to do is make a note in your diary of the dates of the next edition, when the Far East Film Festival will be turning twenty-seven: see you in Udine from 24 April to 2 May 2025! ? ? ? Press Office / Far East Film Festival 26 Gianmatteo Pellizzari & Ippolita Nigris Cosattini +39 0432 299545 feff at cecudine.org - stampafareastfilm at gmail.com ? | | Privo di virus.www.avast.com | -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: FEFF 26 - bilancio ENG.pdf Type: application/pdf Size: 258460 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Mihara Mitsuhiro - Ph. Ricky Modena.jpg Type: image/jpeg Size: 145821 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image003.png Type: image/png Size: 4154 bytes Desc: not available URL: From daisyyandu at uwalumni.com Mon May 20 11:45:03 2024 From: daisyyandu at uwalumni.com (Daisy Yan Du) Date: Mon, 20 May 2024 23:45:03 +0800 Subject: [KineJapan] Chinese Anime, online lecture by Prof. Thomas Lamarre, 9:30-11am, May 22, 2024 (Wed, HK Time), Zoom Message-ID: Dear Colleagues, You are most welcome to join Prof. Thomas Lamarre's online lecture on Chinese Anime at 9:30-11am, May 22, 2024 (Wed, HK Time). For Zoom ID, please click: https://acas.world/2024/03/10/chinese-anime-the-junctive-geopolitics-of-regional-media-lecture-by-professor-thomas-lamarre-930-11am-may-22-2024-wed-hk-time-room-3301-zoom/ We all look forward to seeing you soon. Best, Daisy Daisy Yan Du Associate Professor Division of Humanities Hong Kong University of Science and Technology Clear Water Bay, Kowloon Hong Kong -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Thu May 23 02:54:38 2024 From: earljac at gmail.com (Earl Jackson) Date: Thu, 23 May 2024 14:54:38 +0800 Subject: [KineJapan] Upcoming London Events Message-ID: Dear Everyone, I hope you can forgive this shameless self promotion. Thanks to the generosity of Victor Fan, I have three events happening in London, June 6, 7, and 9. I have them listed below. All interest parties welcome. More detailed information available online. Earl Jackson, ?Thinking Cinema, Otherwise: The Film Theories of Masumura Yasuzo, Oshima Nagisa, and Yoshida Kiju? Thursday 6 June 2024 Research Seminar 16:00?18:00 Nash Theatre, King?s Strand Campus (Free Admission) Friday 7 June 2024 Roundtable 16:00?18:00 Nash Theatre, King?s Strand Campus (Free Admission) De-centred Film Theory In this roundtable, Earl Jackson will be in conversation with, Dr Tom Cunliffe (UCL), Dr Victor Fan (KCL), Dr Elena Gorfinkel (KCL), Dr Adadol Ingawanij (Westminster), Dr Libby Saxton (Queen Mary), and Dr Kiki Tianqi Yu (Queen Mary) to discuss their views and research experience on de-colonising and de-centring knowledge production in film studies. Sunday 9 June 2024 *The Living Magoroku *[Kinoshita Keisuke, 1943] Screening with Discussion Earl Jackson in Conversation with Victor Fan. 16:15?18:45, Garden Cinema (Ticketed; Discount Tickets available for students) https://www.thegardencinema.co.uk/ Earl Jackson Chair Professor Foreign Languages and Literatures Asia University Professor Emeritus National Chiao Tung University Associate Professor Emeritus University of California, Santa Cruz -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Thu May 23 09:28:08 2024 From: earljac at gmail.com (Earl Jackson) Date: Thu, 23 May 2024 21:28:08 +0800 Subject: [KineJapan] Registration Message-ID: Dear Everyone, There has been an update to the King's College Events. Non-KCL people are asked to preregister. It is still free, of course. I have posted the links to the registration below. And Victor Fan will have volunteers to register people who walk in on that date. My apologies. Thursday 6 June 2024 Research Seminar 16:00?18:00 Nash Theatre, King?s Strand Campus (Free Admission) Thinking Cinema, Otherwise: The Film Theories of Masumura Yasuzo, Oshima Nagisa, and Yoshida Kiju Registration: https://www.eventbrite.co.uk/e/thinking-cinema-otherwise-tickets-900286239377?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl Decentered Film Theory Roundtable 14:00-16:00 Nash Theatre, King?s Strand Campus (Free Admission) 7 June 2024 De-centred Film Theory: https://www.eventbrite.co.uk/e/de-centred-film-theory-tickets-912050546737?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl Earl Jackson Chair Professor Foreign Languages and Literatures Asia University Professor Emeritus National Chiao Tung University Associate Professor Emeritus University of California, Santa Cruz -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Thu May 23 21:39:46 2024 From: earljac at gmail.com (Earl Jackson) Date: Fri, 24 May 2024 09:39:46 +0800 Subject: [KineJapan] Apologies Time Error Message-ID: Dear Everyone, I apologize and promise this is the last message about the King's College events. I realized the previous message had the times of the roundtable incorrect. I post them here correctly, again with the links to the registration for each. Admission is free. Thursday 6 June 2024 Research Seminar 16:00?18:00 Nash Theatre, King?s Strand Campus Thinking Cinema, Otherwise: The Film Theories of Masumura Yasuzo, Oshima Nagisa,and Yoshida Kiju Registration: https://www.eventbrite.co.uk/e/thinking-cinema-otherwise-tickets-900286239377?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl Decentered Film Theory Roundtable 16:00-18:00 Nash Theatre, King?s Strand Campus 7 June 2024 De-centred Film Theory: https://www.eventbrite.co.uk/e/de-centred-film-theory-tickets-912050546737?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl Earl Jackson Chair Professor Foreign Languages and Literatures Asia University Professor Emeritus National Chiao Tung University Associate Professor Emeritus University of California, Santa Cruz -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu May 30 04:44:25 2024 From: nornes at umich.edu (Markus Nornes) Date: Thu, 30 May 2024 17:44:25 +0900 Subject: [KineJapan] Yamagata FF Interview Collection Message-ID: Yamagata has always conducted lots of interviews over the course of their festival week. They've been disseminated in all sorts of ways. Since the pandemic, they've put them online on a page of their website. Interviews from last year's festival (bilingual as usual and with careful translation and editing) just went online. https://www.yidff.jp/interviews/2023/23i-e.html (English) https://www.yidff.jp/interviews/2023/23i.html (Japanese) The Japanese filmmakers include Maeda Shinjiro, Oda Kaori, Hatano Shuhei and Okawa Keiko. And I conducted two more fairly lengthy interviews. The first was with Inoue Minoru. He is the director of Men with the Movie Camera, a fascinating, if conventional, documentary about films shot in the wake of the Great Kanto Earthquake, some newly discovered and all newly restored and digitized by the National Film Archive. Inoue did some interesting original research and gives a granular analysis of the shooting of the films. The other interview I did was with Neo Sora about Opus. I don't know about Neo, but I enjoyed our conversation very much for the way it ranged across personal, technical and theoretical contemplations. Markus --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Homepage: http://www-personal.umich.edu/~nornes/ * *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street**Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Thu May 30 06:50:41 2024 From: aaron.gerow at yale.edu (Aaron Gerow) Date: Thu, 30 May 2024 19:50:41 +0900 Subject: [KineJapan] NFAJ film theater programs Message-ID: <0C1963AF-9E03-4FBB-A2C3-DECAAFCA6B3D@yale.edu> The National Film Archive of Japan has added a new section to their Japanese Film Heritage website which features over full, readable images of over 5000 film theater programs from the 1910s to the 1940s. This is really a significant step for open access at a Japanese film archive. You can do searches by the film title, theater name, area, etc. A colleague of FB declared that this will change the course of researching Japanese film history, though there are probably tens of thousands of programs in the NFAJ to begin with that are not yet available except by going in person. https://nfajfilmheritage.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 -------------- next part -------------- An HTML attachment was scrubbed... URL: