From nornes at umich.edu Tue Dec 2 11:14:43 2025 From: nornes at umich.edu (Markus Nornes) Date: Tue, 2 Dec 2025 11:14:43 -0500 Subject: [KineJapan] UM CJS Pubs sale References: Message-ID: <8B08FB60-6C38-48C2-8500-9E7730D47111@umich.edu> Our books at UM?s Center for Japanese Studies Pubs program are all half-off! As you know, we have a great list of Japanese film and media books. Now?s your chance to pick some up at a steep discount! Markus > > View this email in your browser > Share > Tweet > Forward > > > Happy Holidays from UMP! Start your seasonal shopping with 50% off all of our books when you use the promo code HOLIDAY25. > > Since shipping times remain busy, order as soon as possible to get your books by the holidays! > Promo code ?HOLIDAY25? can be used on any book at www.press.umich.edu between November 28th and January 4th, 2025. The discount does not apply to shipping costs. > > Find Books! > > Get a gift that?s easy to wrap! We?ve put together a guide to some of our recent books that make great gifts in a new blog post . > > > Featured Titles > > Teamsters Metropolis > How an unruly union culture helped workers establish comfortable, suburban living > > Before Before > A powerful commentary and memoir that challenge Western narratives of Sierra Leone. > > > A Domestic Cookbook > Bringing new life to the oldest known published cookbook written by an African American woman > > Presentation of Self in Academic Support Genres > Preparing for the job application gauntlet > > The Imaginary Present > Exploring the questions of the universe through poetry and science > > Unsettling Catan > Tracing Catan?s legacy in recent influential eurogames > > > > > > > Copyright ? 2025 University of Michigan Press, All rights reserved. > You are receiving this email because you opted in at our website. > > Our mailing address is: > University of Michigan Press > 4190 Shapiro Library > 919 S. University Avenue > Ann Arbor, MI 48109-1185 > > Add us to your address book > > Want to change how you receive these emails? > You can update your preferences or unsubscribe from this list . > > > -- > Marcella Landri | ??????? ?????? > she/her > Acquiring Editor > University of Michigan Press > mlandri at umich.edu > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Fri Dec 12 20:00:58 2025 From: nornes at umich.edu (Markus Nornes) Date: Fri, 12 Dec 2025 20:00:58 -0500 Subject: [KineJapan] Harada Masato RIP Message-ID: <1F35907A-5DD0-4DBE-A701-AFB2C57AFDB2@umich.edu> I just got word that Harada Masato passed away. No cause has been announced so far, which is concerning. Masato came to University of Michigan just last February and he was as youthful as ever, despite being 76 years old. I brought him to Michigan at the end of my career, because I brought to Michigan at the beginning of my career. It was around the turn of the century. We had some Ford money, as I recall, that was earmarked for events built around the question of borders. I built an event around Harada?s wonderful Kamikaze Taxi, still one of Yakusho Koji?s best films. Yakusho plays a Brazilian in Japan, and the centerpiece of the event was not the film but a discussion between he and scholars of both Japan and Latin American studies. Masato held his own with the scholars. His English was that good, and so was his intellect. He was in command of the complexities of his own work (he was a writer-director from start to finish). Masato started out as a critic for Kinejun based in LA in the 1970s. However, his first powerful encounter with cinema was back at age 5, in his hometown in Shizuoka. His mother told him there was a film crew shooting something nearby, and they went to check it out. It turned out to be Seven Samurai. (His Chronicle of My Mother is semi-autobiographical and lovely; my own mother had just died from Alzheimer?s so we had a lot to talk about?) He had learned English by studying in London, and did a stint at Pepperdine. I?d compare him to Bodganovich for being a filmmaker that was deeply interested in film history (especially American film history) AND having the gumption to go out and meet older filmmakers that were no longer receiving the attention they once enjoyed. This included the likes of Hitchcock and Wilder, and most importantly Howard Hawks. The two took a shine to each other and Hawks took him under his wing and mentored him. In the 1980s, he did some subtitling, including Empire Strikes Back. I wrote about him in my Cinema Babel, because he was tapped to do the subtitles for Full Metal Jacket after Kubrick fired Toda Natsuko. She had really fumbled all the military jargon and erased all the swearing; imagine the bootcamp scene without the nasty language! Masato put it all back in; check out the book for the whole story. He started making films after that, making an unsuccessful go of Hollywood. After fits and starts, he finally established a practice in Japan while going back and forth between the two film cities (although he?d been based in Japan for quite a while now). He really established himself with Kamikaze Taxi, and then Bounce Ko-gals. After that, he moved between studios and managed to make films quite regularly, increasing his budgets along the way. The best measure of his power in the studio system, such as it is, was Baragaki; it?s a revisionist Shinsengumi tale from Shiba Ryobaragaki taro shot on actual Kyoto locations which are now Bunkazai. Harada was often criticized for being too entertainment oriented. But I respect him for his commitment to socially engaged cinema in the mainstream industry. I?ll end with a precious memory. Last spring on his last day in Michigan, I took him out for a Mexican dinner in Detroit?s Mexicantown. He had that craving, which I often feel in Japan. I invited Pete Larson to tag along. Pete, for those who have not met him, has been on KineJapan since the early days. But he?s mostly a lurker, being a musician / epidemiologist and all. In an earlier life, Pete lived in Osaka and picked up Japanese in music clubs there around Nishinari, where his kid went to kindergarten. The first thing Pete said when introductions were over was, ?Let me tell you all the things you got wrong about Nishinari.? Harada, rather than being insulted or off-put, loved it. The two traded tall tales of the district and its history for much of the night. I showed once again that Harada Masato got to know his subjects inside and out in the process of writing and shooting and it comes out in every film. RIP. Markus -------------- next part -------------- An HTML attachment was scrubbed... URL: From pslarson2 at gmail.com Sat Dec 13 09:40:56 2025 From: pslarson2 at gmail.com (Peter Larson) Date: Sat, 13 Dec 2025 09:40:56 -0500 Subject: [KineJapan] Harada Masato RIP In-Reply-To: <1F35907A-5DD0-4DBE-A701-AFB2C57AFDB2@umich.edu> References: <1F35907A-5DD0-4DBE-A701-AFB2C57AFDB2@umich.edu> Message-ID: Oh my. This is devastating news. Meeting and spending time with Harada earlier this year was one of the highlights of 2025 for me. Before we were to met, I went back and watched as many of his films as possible, including Bad Lands, which was filmed in and around Nishinari in Osaka, an area I am intensely familiar with. Harada welcomed my light criticisms of his liberal approach to Osaka's geography, and even explained some of it away. I learned that I wasn't crazy, that the buildings in the background were in fact all wrong because Harada had decided that it was too difficult to shoot in Nishinari's Kamagasaki Triangle Park (a park where Nishinari's elderly "homeless" people congregate). Incredibly, he reproduced the area in a parking lot in Hikone and even bussed in some local Nishinari superstars, who are recognizable to anyone who has spent any extended time in the area. He was curious about everything, asking questions about Osaka, Detroit or wherever, you got the sense that Harada's superpower was listening and figuring out what special things people have to say. When I was with him, he would just engage anybody withing speaking distance even the waitstaff or people shooting wedding pictures in the Fisher Building or people selling coffee in Eastern Market. We spent the afternoon scouting potential locations throughout Detroit. I was really hoping that he'd make a movie here and give it the same treatment he gave Osaka with Bad Lands. I'll never forget spending time with him and am saddened that I won't be able to have that chance again. RIP. Pete On Fri, Dec 12, 2025 at 8:01?PM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > I just got word that Harada Masato passed away. No cause has been > announced so far, which is concerning. Masato came to University of > Michigan just last February and he was as youthful as ever, despite being > 76 years old. > > I brought him to Michigan at the end of my career, because I brought to > Michigan at the beginning of my career. It was around the turn of the > century. We had some Ford money, as I recall, that was earmarked for events > built around the question of borders. I built an event around Harada?s > wonderful Kamikaze Taxi, still one of Yakusho Koji?s best films. Yakusho > plays a Brazilian in Japan, and the centerpiece of the event was not the > film but a discussion between he and scholars of both Japan and Latin > American studies. Masato held his own with the scholars. His English was > that good, and so was his intellect. He was in command of the complexities > of his own work (he was a writer-director from start to finish). > > Masato started out as a critic for Kinejun based in LA in the 1970s. > However, his first powerful encounter with cinema was back at age 5, in his > hometown in Shizuoka. His mother told him there was a film crew shooting > something nearby, and they went to check it out. It turned out to be *Seven > Samurai.* (His *Chronicle of My Mother *is semi-autobiographical and > lovely; my own mother had just died from Alzheimer?s so we had a lot to > talk about?) > > He had learned English by studying in London, and did a stint at > Pepperdine. I?d compare him to Bodganovich for being a filmmaker that was > deeply interested in film history (especially American film history) AND > having the gumption to go out and meet older filmmakers that were no longer > receiving the attention they once enjoyed. This included the likes of > Hitchcock and Wilder, and most importantly Howard Hawks. The two took a > shine to each other and Hawks took him under his wing and mentored him. > > In the 1980s, he did some subtitling, including Empire Strikes Back. I > wrote about him in my *Cinema Babel,* because he was tapped to do the > subtitles for * Full Metal Jacket* after Kubrick fired Toda Natsuko. She > had really fumbled all the military jargon and erased all the swearing; > imagine the bootcamp scene without the nasty language! Masato put it all > back in; check out the book for the whole story. > > He started making films after that, making an unsuccessful go of > Hollywood. After fits and starts, he finally established a practice in > Japan while going back and forth between the two film cities (although he?d > been based in Japan for quite a while now). He really established himself > with Kamikaze Taxi, and then Bounce Ko-gals. After that, he moved between > studios and managed to make films quite regularly, increasing his budgets > along the way. The best measure of his power in the studio system, such as > it is, was Baragaki; it?s a revisionist Shinsengumi tale from Shiba > Ryobaragaki > taro shot on actual Kyoto locations which are now Bunkazai. > > Harada was often criticized for being too entertainment oriented. But I > respect him for his commitment to socially engaged cinema in the mainstream > industry. > > I?ll end with a precious memory. Last spring on his last day in Michigan, > I took him out for a Mexican dinner in Detroit?s Mexicantown. He had that > craving, which I often feel in Japan. I invited Pete Larson to tag along. > Pete, for those who have not met him, has been on KineJapan since the early > days. But he?s mostly a lurker, being a musician / epidemiologist and all. > In an earlier life, Pete lived in Osaka and picked up Japanese in music > clubs there around Nishinari, where his kid went to kindergarten. The first > thing Pete said when introductions were over was, ?Let me tell you all the > things you got wrong about Nishinari.? Harada, rather than being insulted > or off-put, loved it. The two traded tall tales of the district and its > history for much of the night. I showed once again that Harada Masato got > to know his subjects inside and out in the process of writing and shooting > and it comes out in every film. > > RIP. > > Markus > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija at helsinkicineaasia.fi Mon Dec 15 06:07:49 2025 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Mon, 15 Dec 2025 13:07:49 +0200 Subject: [KineJapan] Harada Masato RIP In-Reply-To: References: <1F35907A-5DD0-4DBE-A701-AFB2C57AFDB2@umich.edu> Message-ID: Harada visited Helsinki International Film Festival in 1998, with Kamikaze Taxi and Bounce Kogals. I have since run onto him at TIFF and FCCJ events. He is always very friendly and gentlemanly. Kamikaze Taxi was I think one of the films that showcased Yakusho Koji as an upcoming actor for audiences. Eija On Sat, Dec 13, 2025 at 4:40?PM Peter Larson via KineJapan < kinejapan at mailman.yale.edu> wrote: > Oh my. This is devastating news. Meeting and spending time with Harada > earlier this year was one of the highlights of 2025 for me. > > Before we were to met, I went back and watched as many of his films as > possible, including Bad Lands, which was filmed in and around Nishinari in > Osaka, an area I am intensely familiar with. Harada welcomed my light > criticisms of his liberal approach to Osaka's geography, and even explained > some of it away. I learned that I wasn't crazy, that the buildings in the > background were in fact all wrong because Harada had decided that it was > too difficult to shoot in Nishinari's Kamagasaki Triangle Park (a park > where Nishinari's elderly "homeless" people congregate). Incredibly, he > reproduced the area in a parking lot in Hikone and even bussed in some > local Nishinari superstars, who are recognizable to anyone who has spent > any extended time in the area. > > He was curious about everything, asking questions about Osaka, Detroit or > wherever, you got the sense that Harada's superpower was listening and > figuring out what special things people have to say. When I was with him, > he would just engage anybody withing speaking distance even the waitstaff > or people shooting wedding pictures in the Fisher Building or people > selling coffee in Eastern Market. > > We spent the afternoon scouting potential locations throughout Detroit. I > was really hoping that he'd make a movie here and give it the same > treatment he gave Osaka with Bad Lands. > > I'll never forget spending time with him and am saddened that I won't be > able to have that chance again. > > RIP. > > Pete > > On Fri, Dec 12, 2025 at 8:01?PM Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> I just got word that Harada Masato passed away. No cause has been >> announced so far, which is concerning. Masato came to University of >> Michigan just last February and he was as youthful as ever, despite being >> 76 years old. >> >> I brought him to Michigan at the end of my career, because I brought to >> Michigan at the beginning of my career. It was around the turn of the >> century. We had some Ford money, as I recall, that was earmarked for events >> built around the question of borders. I built an event around Harada?s >> wonderful Kamikaze Taxi, still one of Yakusho Koji?s best films. Yakusho >> plays a Brazilian in Japan, and the centerpiece of the event was not the >> film but a discussion between he and scholars of both Japan and Latin >> American studies. Masato held his own with the scholars. His English was >> that good, and so was his intellect. He was in command of the complexities >> of his own work (he was a writer-director from start to finish). >> >> Masato started out as a critic for Kinejun based in LA in the 1970s. >> However, his first powerful encounter with cinema was back at age 5, in his >> hometown in Shizuoka. His mother told him there was a film crew shooting >> something nearby, and they went to check it out. It turned out to be *Seven >> Samurai.* (His *Chronicle of My Mother *is semi-autobiographical and >> lovely; my own mother had just died from Alzheimer?s so we had a lot to >> talk about?) >> >> He had learned English by studying in London, and did a stint at >> Pepperdine. I?d compare him to Bodganovich for being a filmmaker that was >> deeply interested in film history (especially American film history) AND >> having the gumption to go out and meet older filmmakers that were no longer >> receiving the attention they once enjoyed. This included the likes of >> Hitchcock and Wilder, and most importantly Howard Hawks. The two took a >> shine to each other and Hawks took him under his wing and mentored him. >> >> In the 1980s, he did some subtitling, including Empire Strikes Back. I >> wrote about him in my *Cinema Babel,* because he was tapped to do the >> subtitles for * Full Metal Jacket* after Kubrick fired Toda Natsuko. She >> had really fumbled all the military jargon and erased all the swearing; >> imagine the bootcamp scene without the nasty language! Masato put it all >> back in; check out the book for the whole story. >> >> He started making films after that, making an unsuccessful go of >> Hollywood. After fits and starts, he finally established a practice in >> Japan while going back and forth between the two film cities (although he?d >> been based in Japan for quite a while now). He really established himself >> with Kamikaze Taxi, and then Bounce Ko-gals. After that, he moved between >> studios and managed to make films quite regularly, increasing his budgets >> along the way. The best measure of his power in the studio system, such as >> it is, was Baragaki; it?s a revisionist Shinsengumi tale from Shiba >> Ryobaragaki >> taro shot on actual Kyoto locations which are now Bunkazai. >> >> Harada was often criticized for being too entertainment oriented. But I >> respect him for his commitment to socially engaged cinema in the mainstream >> industry. >> >> I?ll end with a precious memory. Last spring on his last day in Michigan, >> I took him out for a Mexican dinner in Detroit?s Mexicantown. He had that >> craving, which I often feel in Japan. I invited Pete Larson to tag along. >> Pete, for those who have not met him, has been on KineJapan since the early >> days. But he?s mostly a lurker, being a musician / epidemiologist and all. >> In an earlier life, Pete lived in Osaka and picked up Japanese in music >> clubs there around Nishinari, where his kid went to kindergarten. The first >> thing Pete said when introductions were over was, ?Let me tell you all the >> things you got wrong about Nishinari.? Harada, rather than being insulted >> or off-put, loved it. The two traded tall tales of the district and its >> history for much of the night. I showed once again that Harada Masato got >> to know his subjects inside and out in the process of writing and shooting >> and it comes out in every film. >> >> RIP. >> >> 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 > -- Eija Niskanen Programming director Helsinki Cine Aasia, March 14.-17.2024 www.helsinkicineaasia.fi +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Mon Dec 15 09:49:30 2025 From: aaron.gerow at yale.edu (Aaron Gerow) Date: Mon, 15 Dec 2025 23:49:30 +0900 Subject: [KineJapan] Black Box Diaries revised edition Message-ID: <40B3D77A-CE1C-4D74-9DB4-D4BA5A5317E0@yale.edu> Ito Shiori's revised version of Black Box Diaries opened in Japan on Friday and today she held a screening and press conference at the FCCJ with her fellow producers. It was a lively press conference. She distributed a lengthy response to criticism, including the charges made by one of her former lawyers, which is also available on her website. She especially asserted that some of the charges made by the lawyer were false and she can show evidence that they were false. Reporters did ask about her use of sources, and it was perhaps her response to questions about protecting the identity of Investigator A that was the most problematic. She rightly argued that the film does a lot to hide his identity from the general public, but one reporter said that there is enough information in the film that others in the prosecutor's office can identify him. She said she couldn't understand the question, which was odd. (That said, I would ask my journalist friends how much you can protect an inside source from others in the inside.) The most contentious moment was when she accused a reporter from the Tokyo Shinbun of writing a false story, after which that reporter stood up and verbally attacked her. I would have to read Ito's multi-page response to say for sure, but it seems she is trying to respond to criticism, but that issues remain cloudy. As for the film, I must confess I have not seen the original version. What she passed out explains the differences, the biggest probably being the scenes with the taxi driver. I found it a powerful film with an important message, but it also has difficulty?and not necessarily to its own fault?of traversing very different genres: investigative journalism, documentary, and personal documentary (and more?). Each can have its own rules. For instance, the MC today, Jake Adelstein, asserted that investigative journalists do not need permission from the hotel to use that video. But perhaps other genres do. It was particularly the personal documentary side that, while crucial to the film (Ito talked a bit about how it was originally not in the film), is in greatest tension with the other elements. As I was walking from the FCCJ to Akasaka to catch rakugo, I ended up walking through the Imperial Palace park and by the Diet Building. That underlined for me that the film is very much a landscape film, often playing its audio recordings against the manifestations of power in landscape. Here is Ito?s site: https://www.shioriito.com/ Her statement is in the News section. Aaron Gerow Alfred W. Griswold Professor of East Asian Languages and Literatures and Film and Media Studies Yale University On leave AY 2025-2026 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: From bobsummers at burlingtontelecom.net Mon Dec 15 10:47:56 2025 From: bobsummers at burlingtontelecom.net (bobsummers) Date: Mon, 15 Dec 2025 10:47:56 -0500 Subject: [KineJapan] Please update my e-mail Message-ID: <1914f040b9311d6a7c5fc82ae3846311@burlingtontelecom.net> -- Please note: new e-mail bobsummersVT at gmail.com Burlingtontelecom will no longer forward or keep e-mail on server(s) after 31Dec25. From nornes at umich.edu Mon Dec 22 12:33:10 2025 From: nornes at umich.edu (Markus Nornes) Date: Mon, 22 Dec 2025 10:33:10 -0700 Subject: [KineJapan] New Film: THE OZU DIARIES (Oscar-nominated director Daniel Raim) - now available for Campus Screenings In-Reply-To: <0390E3AE-A2F3-44CD-825B-507F515D5AFD@umich.edu> References: <25119763-0D91-47D5-9123-175D5D2DDE72@thefilmcollaborative.org> <1099263801.5419245.1763606588527@mail.yahoo.com> <8812DC5D-0B2E-4943-9723-A09CC63C3D46@ucsb.edu> <0390E3AE-A2F3-44CD-825B-507F515D5AFD@umich.edu> Message-ID: Here are a few comments on *The Ozu Diaries* on NHK's JFlix. There was no time for anything interesting to say, so this is mainly interesting to get a flavor of the film and see the diaries. https://www3.nhk.or.jp/nhkworld/en/shows/2036089/ The current JFlix is also out, with my bit on Naruse. Both shows feature Alex talking about a new slate of films. And there's also an interview with Ichiyama Shozo about TIFF. https://www3.nhk.or.jp/nhkworld/en/shows/2036090/ 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, Nov 20, 2025 at 4:31?PM Markus Nornes wrote: > But I apologize if my earlier posts sounded unkind and dismissive. > > > It wasn?t! > > While we?re on this, I thought I would remind people that one of the first > people to address Ozu?s wartime work was Peter High. He contributed an > article to the Kinema Club book *In Praise of Film Studies* that analyzes > an Ozu script for a *kokusaku* film to be shot in SE Asia. It?s very > interesting, especially because he translates all the key passages in the > story. If you haven?t read it, please check it out. > > Publications > kinemaclub.org > [image: apple-touch-icon.png] > > > > > Markus > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: apple-touch-icon.png Type: image/png Size: 5581 bytes Desc: not available URL: From wct1 at columbia.edu Mon Dec 22 16:05:45 2025 From: wct1 at columbia.edu (William C. Thompson) Date: Mon, 22 Dec 2025 16:05:45 -0500 Subject: [KineJapan] New Film: THE OZU DIARIES (Oscar-nominated director Daniel Raim) - now available for Campus Screenings In-Reply-To: References: <25119763-0D91-47D5-9123-175D5D2DDE72@thefilmcollaborative.org> <1099263801.5419245.1763606588527@mail.yahoo.com> <8812DC5D-0B2E-4943-9723-A09CC63C3D46@ucsb.edu> <0390E3AE-A2F3-44CD-825B-507F515D5AFD@umich.edu> Message-ID: For those in the NEw York area, *The Ozu Diaries* will be screened at the Museum of Modern Art on Sunday, January 18, 2026, at 3:30 PM as part of its To Save and Project: The 22nd MoMA International Festival of Film Preservation series. An Autumn Afternoon will also be presented that evening at 7:00 pm in a new 2K restoration. https://www.moma.org/calendar/events/11121 and https://www.moma.org/calendar/events/11122 Happy Holidays to all! Bill Thompson wct1 at columbia.edu On Mon, Dec 22, 2025 at 12:33?PM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > Here are a few comments on The Ozu Diaries on NHK's JFlix. There was no > time for anything interesting to say, so this is mainly interesting to get > a flavor of the film and see the diaries. https: //www3. nhk. or. > jp/nhkworld/en/shows/2036089/ > ZjQcmQRYFpfptBannerStart > This Message Is From an External Sender > This message came from outside your organization. > > ZjQcmQRYFpfptBannerEnd > Here are a few comments on *The Ozu Diaries* on NHK's JFlix. There was no > time for anything interesting to say, so this is mainly interesting to get > a flavor of the film and see the diaries. > https://www3.nhk.or.jp/nhkworld/en/shows/2036089/ > > > The current JFlix is also out, with my bit on Naruse. Both shows feature > Alex talking about a new slate of films. And there's also an interview with > Ichiyama Shozo about TIFF. > > https://www3.nhk.or.jp/nhkworld/en/shows/2036090/ > > 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, Nov 20, 2025 at 4:31?PM Markus Nornes wrote: > >> But I apologize if my earlier posts sounded unkind and dismissive. >> >> >> It wasn?t! >> >> While we?re on this, I thought I would remind people that one of the >> first people to address Ozu?s wartime work was Peter High. He contributed >> an article to the Kinema Club book *In Praise of Film Studies* that >> analyzes an Ozu script for a *kokusaku* film to be shot in SE Asia. It?s >> very interesting, especially because he translates all the key passages in >> the story. If you haven?t read it, please check it out. >> >> Publications >> >> kinemaclub.org >> >> [image: apple-touch-icon.png] >> >> >> >> >> Markus >> >> _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > > https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!BDUfV1Et5lrpZQ!U-YgPD9PXBskoWKmgXI27L59pR37SP__409A02KYItYLcpAass3l7AvX8FdOfdjjbfscqVP5djNK755SSoZO0QqLzcg8$ > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: apple-touch-icon.png Type: image/png Size: 5581 bytes Desc: not available URL: