From ac2794 at cornell.edu Thu Jan 2 11:43:01 2025 From: ac2794 at cornell.edu (Andrew Campana) Date: Thu, 2 Jan 2025 16:43:01 +0000 Subject: [KineJapan] New open access book: Expanding Verse: Japanese Poetry at the Edge of Media Message-ID: Dear KineJapan members, Happy new year to all! I wanted to share the news that my book, Expanding Verse: Japanese Poetry at the Edge of Media, has been recently published by the University of California Press. It?s open access, so it can be read for free online, or downloaded as a PDF or epub. There are several portions that may be of interest to those here. Chapter 1 is about poetry in engagement with cinema in 1920s and 1930s Japan: film-poems (eigashi) about Western film stars, the boom of ?cinepoems,? and an assortment of other oddities that don?t quite fit either subgenre. Chapter 2 focuses on a tape recorder poem by Akiyama Kuniharu, a member of the experimental collective Jikken K?b? (who also wrote extensive histories of Japanese film scores and his own score for Matsumoto Toshio?s Ishi no uta). Chapter 3 looks at the poetic work of the disability activist Yokota Hiroshi, the main subject of Hara Kazuo?s Say?nara CP. Chapter 4 is about the feminist poetry of It? Hiromi and Togawa Jun, including an analysis of Suzuki Shir?yasu?s film Hiromi?A Hair-Plucking Story. Finally, Chapter 5 looks at Augmented Reality poetry and Japanese Sign Language poetry, delving a bit into the Deaf poet Tanada Shigeru?s writings on the cinematic qualities of sign language. I hope you enjoy it! Have a wonderful 2025. Sincerely, Andrew Andrew Campana Assistant Professor Department of Asian Studies Cornell University -------------- next part -------------- An HTML attachment was scrubbed... URL: From lucie.rydzek at univ-lorraine.fr Tue Jan 7 05:32:14 2025 From: lucie.rydzek at univ-lorraine.fr (Lucie Rydzek) Date: Tue, 7 Jan 2025 11:32:14 +0100 Subject: [KineJapan] CfP - Young Researchers Colloquium "From Japan to Brazil and Vice-Versa" - Deadline March 10, 2025 Message-ID: <95e2c261-304a-409c-bd51-bb43deed6ae9@univ-lorraine.fr> Dear All, Best wishes for 2025! Please find below (and attached) the Call for Papers for the young researchers colloquium "From Japan to Brazil and Vice-versa: Historical and Aesthetic Perspectives of a Diasporic Cinema", to be held online and at ENS Lyon (France) on June 24th and 25th, 2025. Feel free to write us any questions about this colloquium, Best regards, Lucie, Romane and Emmanuel *-- * CfP - Young Researchers Colloquium* * *_From Japan to Brazil and Vice-versa: Historical and Aesthetic Perspectives of a Diasporic Cinema_ ENS Lyon (France) & online, June 24th and 25th, 2025* In 2024, the 77th Festival of Cannes' short film competition selected Amarela (2024), a film by Japanese-Brazilian director Andr? Hayato Saito, which focuses on the experiences of Japanese-Brazilians. This event reflects a growing interest in a diverse, transnational, and multilingual filmography on the subject of the Japanese diaspora, particularly the Japanese-Brazilians, who are the largest group affected by return migration (or ?detour migration? (Perroud, 2007)) to Japan. This Young Researchers Colloquium aims at visualizing and iscussing that film corpus and its aesthetic, socio-historical and methodological issues. The first massive immigration of Japanese populations to Brazil occurred in 1908, to replace European laborers at the coffee plantations of S?o Paulo (Nishida, 2017). Aboard the Kasato Maru, 781 migrants left Kobe?s harbor in direction of Santos, located in the state of S?o Paulo, following previous migrations to Hawaii (1868), the United States (1880), and Peru (1899) (Han, 2017). Despite restrictions by the Brazilian government in the 1930s, these ?nikkeis? (in Brazilian) or ?nikkeijin? (in Japanese), meaning Japanese descendants born and living abroad, formed a significant community of around 2 million people by the 2020s. Today, this is the largest community of Japanese descent in the world. In the 1980s, a reverse form of migration of Japanese-Brazilians to Japan began as Brazil faced an economic crisis. The Japanese authorities encouraged the return of nikkeis/nikkeijin by preferentially giving them ?long-term resident? visas (teij?sha) (Cherrier, 2024), to meet the country's demand for low-cost labor (De Carvalho, 2003). Initially, migrants planned to stay only for a short time in Japan, which is why the Japanese term dekasegi?meaning short-term migrant workers?was used to describe them. However, their difficult reintegration upon returning to Brazil and economic issues led many of them to extend their stays in Japan, in a ?vicious migration cycle? (Yamanaka, 2000). Most of them eventually settled permanently in Japan (Tsuda, 1999). If Japanese-Brazilians were the third-largest foreign community in Japan by the 2000s, they now form the fifth-largest foreign community in Japan at 204,879 people, after Chinese people (716,606), Vietnamese (432,934), Koreans (409,855) and Filipinos (276,615) (Cherrier, 2024). Japanese-Brazilians are also one of the country's main ethnic minorities, alongside Japanese-Koreans, Burakumin, Ainu, and Okinawans (Tsuda, 1999). The Japanese diasporas, including those from Brazil, and associated issues (immigration, the making of diasporas, the affirmation of a cultural identity, and social integration) have been widely studied in social sciences since the 1990s, mainly in English, Japanese, Portuguese and French (see for example works from Jeffrey Lesser, Takeyuki Tsuda, Daniela de Carvalho and Pauline Cherrier). The history of Japanese immigration is deeply intertwined with cinema. Indeed, the arrival of the first Japanese migrants coincided with the emergence of filmmaking in Brazil. In 1908, just a few months after the Kasato Maru docked, the State of S?o Paulo commissioned the production of a silent short film titled Japoneses apanhando caf? nas fazendas paulistas. Unfortunately, no copies of this film have been found. From the 1920s onward, non-fiction short films documenting the experiences of nikkeis/nikkeijin in Brazil became increasingly common. Hikoma Udihara, an amateur filmmaker, stands out as one of the most notable figures of this movement, having created nearly 85 short films between 1927 and 1959. As the practice of filmmaking became more established, the diffusion of films ?mainly Japanese productions?increased within the Japanese-Brazilian community. In this context, traveling cinemas played a significant role, particularly in rural areas, by allowing Japanese immigrants to watch films. Alexandre Kishimoto (2013) highlighted the key role played by four movie theaters in the Liberdade district of S?o Paulo during the 1950s and 1960s. These theaters not only facilitated the dissemination of Japanese cinema within the Japanese-Brazilian community but also attracted Brazilian audiences with no Japanese heritage. Afterwards, two major university-trained Japanese-Brazilian filmmakers constituted the historical foundation of Japanese-Brazilian diasporic cinema: Olga Futemma, former director of the Cinemateca Brazileira, short film director, and producer of several films, and Tizuka Yamasaki, director and screenwriter. Among other films, Yamasaki directed Gaijin ? Caminhos da Liberdade in 1980, a commercial and critical success (winning awards at Cannes and Gramado), which is considered the first fiction film focused on the Japanese-Brazilian community and which helped popularize the history of Japanese migration in Brazil. Concerning animated films, the Japanese-Brazilian community also played a pioneer role in Brazil: Piconz? (1972), one of the first Brazilian animated feature films in color, was directed by Yp? Nakashima, a Japanese artist who immigrated to S?o Paulo in 1956 and surrounded himself with around 30 animators from the Japanese community to make the film. Today, several contemporary filmmakers from Japan, Brazil, and the Japanese-Brazilian community have explored diasporic issues. Their films have been appraised at festivals: from the fiction Saudade (2011) by Tomita Katsuya to the documentary Okinawa Santos (2020) by Y?ju Matsubayashi, along with films by Paulo Pastorelo (Tokiori - Dobras do Tempo, 2011), Marcos Yoshi (Bem-vindos de Novo, 2021), Vicente Amorim (Cora??es Sujos, 2011), Nanako Kurihara (A Grandpa from Brazil, 2008), Tsumura Kimihiro and Mayu Nakamura (Lonely Swallows, 2012). Moreover, in 2008, for the centenary of the arrival of the first Japanese immigrants, a major retrospective of Japanese-Brazilian films was held in Brazil, followed by an international symposium at the Universities of S?o Paulo and Osaka. This event led to the identification and establishment of a nikkei Brazilian film archive, although the collection remains incomplete due to difficulties in getting hold of part of the films and their poor preservation. Over the past 15 years, several studies on films addressing Japanese-Brazilian diaspora issues have been published in Portuguese (since the centenary) and Japanese (since the 2010s). However, these films remain under-explored by English- and French-speaking scholars. Two recent publications in English are worth noting: Ignacio L?pez-Calvo's book on Japanese-Brazilian literature and films (L?pez-Calvo, 2019) and Emy Takada's thesis on Tizuka Yamasaki (Takada, 2021). As these films are gradually gaining attention from curators and researchers, it seemed important to us to invite international scholars to share their expertise and to engage in bilingual (English-French) discussions during this colloquium. *Proposals are expected to be diverse in terms of methodologies and objects of study. They are expected to discuss, through cinema and its ethical and sociopolitical stakes, these diasporic phenomena and their place in societies and national histories. Topics of interest may include (but are not limited to):* *? The aesthetics of films addressing Japanese-Brazilian diasporic issues, particularly in relation to discourses on identity, memory, and intimacy (one might also question the aesthetic difference between fictions and documentaries); ? The circulation of film aesthetics between Japan and Brazil through the diasporic network; ? The contexts and challenges of production and distribution of these films, as well as the role of Japanese-Brazilian filmmakers and technicians within cinematic production and distribution networks; ? Japanese-Brazilian diaspora issues in audiovisual media and museum installations.* *Scientific committee:* Pauline CHERRIER (University of Aix-Marseille, IrAsia/CEJ-INALCO) Kevin J. MCKIERNAN (University of Minnesota Twin Cities) Alberto DA SILVA (Sorbonne Universit?, CRIMIC) ?lise DOMENACH (Ecole Nationale Sup?rieure Louis Lumi?re, IAO) Regiane ISHII (Universidade de S?o Paulo, ECA) L?cia RAMOS MONTEIRO (Universidade Federal Fluminense, PPG-Cine) *Organizing committee:* Romane CARRI?RE (ENS Lyon, CERCC) Lucie RYDZEK (University of Lorraine, CREAT/IAO) Emmanuel DAYRE (ENS Lyon, IAO) *Submission details:* Individual paper proposals, in English or in French, are to be _sent to lucie.rydzek at univ-lorraine.fr, romane.carriere at ens-lyon.fr and emmanuel.dayre at ens.fr_. They must comprise: ? Name, firstname, affiliation, email address, presentation on-site or online ? Title ? Abstract (up to 3000 characters including spaces) ? Bio-bibliography (up to 500 characters including spaces) Presenters will have 20 minutes to present their paper in English or in French, followed by 10 minutes of questions. All visuals need to be in English. The colloquium will be hosted at the Ecole Normale Sup?rieure Lyon, France. Online presentations will be possible for those who can not join in-site, although we encourage on-site presentations. The colloquium may lead to the publication of a shared book. *Calendar:* ? Submission deadline: _March 10th, 2025 (23:59, UTC+1)_ ? Committee decision: by April 2025 ? Colloquium dates: June 24th and 25th, 2025 The colloquium is supported by the Lyon Institute of East Asian Studies (IAO, Lyon), the Comparative Studies and Research Center on Creative Arts (CERCC, Lyon) and the Research Center on Expertise, Arts and Transitions (CREAT, Metz). -- Lucie RYDZEK PhD Student Lorraine University* * -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Call for Papers-From Japan to Brazil.pdf Type: application/pdf Size: 319487 bytes Desc: not available URL: From azahlten at fas.harvard.edu Sat Jan 11 12:03:55 2025 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Sat, 11 Jan 2025 17:03:55 +0000 Subject: [KineJapan] Call for Papers: Kinema Club at Nippon Connection Film Festival(May 30 - June 1) In-Reply-To: <95e2c261-304a-409c-bd51-bb43deed6ae9@univ-lorraine.fr> References: <95e2c261-304a-409c-bd51-bb43deed6ae9@univ-lorraine.fr> Message-ID: Hello Everyone, With apologies for running a bit late with this, please find below a call for papers for KCXXIII, held at the Nippon Connection Film Festival in Frankfurt, Germany. Nippon Connection is still the best place in the world to catch up on the year in Japanese cinema ? we actually recommend you join for the entire festival to catch some of the well over 100 films and chat with some of the (estimated) over 130 filmmakers present. We hope to create a number of interesting synergies with the festival, which is celebrating its 25th anniversary this year! Also, keep your eyes open ? another Kinema Club Call for Papers is coming soon, to be held in Kyoto on August 1-3. All best, Alex Call for Papers for: Kinema Club Conference for Film and Moving Images from Japan XXIII at the Nippon Connection Film Festival Dates: May 30 - June 1, 2025 Location: Frankfurt a.M., Germany Nippon Connection Film Festival Proposal Deadline: February 10, 2025 (Nippon Connection Film Festival dates: May 27 - June 1) Organized by: Mari Kishi (Harvard University) & Alexander Zahlten (Harvard University) We welcome proposals for the 23rd Kinema Club Conference for Film and Moving Images from Japan, to be held in conjunction with the 25th anniversary edition of the Nippon Connection Film Festival. The workshop will consist of two sections, a primary one with micro-presentations / discussion groups and one with events that are coordinated the festival screening schedule. The latter will include roundtable discussions on broader topics, discussions of films screening at the festival, and (hopefully) conversations with filmmakers. Through this we hope to take advantage of the current films from all corners of Japanese moving image production showing at the festival, and the large number of filmmakers in attendance. Workshop theme: This workshop aims to use the opportunity of the 25th anniversary of the Nippon Connection Film Festival to take stock: To sample work currently in progress, to reflect on the recent decades of scholarship, and to discuss what are the urgent (and effective) interventions the study of film from Japan can supply now and in the near future. Papers / Panels: What are you working on right now? Proposals should focus on ongoing research in the early stages, ideally presenting preliminary results. The panels will provide ample time for discussion and for receiving questions and early feedback. The goal is for the conference to provide feedback at a crucial formative stage of research. We ask for proposals to point - be it in methodology or topic - to the relevance of the project within the present and future of the study of film and moving images from Japan, or the future of film and moving images from Japan themselves. Questions they might address are: How is the field changing? Why did you choose this topic of research at this moment? What interventions are urgent now? What kind of interventions will be necessary in the near future? What does that mean for students / academic training? Micro-presentations will be five minutes in length, with the emphasis on leaving ample time for discussion. We especially seek for graduate students to apply, and encourage drawing on dissertation topics. While obtaining funding for a conference taking place in Germany but organized from the U.S. presents challenges, we are working with the festival to make discounted hotel rooms available, along with discounted festival tickets. Why at Nippon Connection? Nippon Connection is one of the best venues in the world to gain an overview of the current state of all corners of moving image production from Japan ? no other festival shows the same number of films or covers the same span of all moving image production in Japan. The festival usually features over 100 films and over 100 filmmakers, though for the 25th edition a higher number of guests than usual are expected. We aim to time Kinema Club sessions in the morning and at noon, leaving the afternoons and evenings for viewing film. Discounted tickets will be available for conference participants. The conference is generally open for non-presenting attendees, but registration is required. Proposals: Panel papers: Please send abstracts of up to 200 words and a short bio (up to 100 words). Note: When sending a proposal please indicate if you are also open to participating in a roundtable. Proposal submission: kc.at.nc.2025 at gmail.com Deadline for paper proposals: February 10 -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija.niskanen at gmail.com Tue Jan 14 09:58:53 2025 From: eija.niskanen at gmail.com (Eija Niskanen/HCA) Date: Tue, 14 Jan 2025 16:58:53 +0200 Subject: [KineJapan] Berlinale Classics and Masumura's The Wife of Seisaku Message-ID: Forwarding a message from Kadokawa/Zeze Miki. We selected *Seisaku no Tsuma* (The Wife of Seisaku) by Yasuzo Masumura for the 2025 Berlinale Classics section for several reasons. We were captivated by its striking visual storytelling, which boldly delves into themes of love, war, and societal rejection. The selection committee was particularly impressed by Masumura?s unique cinematic style, influenced by his studies in Italy, and his critical examination of Japanese societal norms. We are thrilled to present the masterful new restoration of *Seisaku no Tsuma* at the 75th Berlin International Film Festival and to honor Masumura?s work as one of the most important representatives of postwar Japanese cinema and the Japanese New Wave. *Dr. Rainer Rother, head of the Berlinale Retrospective / Berlinale Classics and Artistic Director of the Deutsche Kinemathek.* -- Eija Niskanen Univ. of Helsinki -------------- next part -------------- An HTML attachment was scrubbed... URL: From mekerpan2 at gmail.com Sat Jan 25 22:49:02 2025 From: mekerpan2 at gmail.com (Michael Kerpan) Date: Sat, 25 Jan 2025 22:49:02 -0500 Subject: [KineJapan] Kore-eda's Asura Message-ID: Does anyone know where this new Kore-eda series is set? I only know WHEN -- 1979 (the same period as the long-ago NHK series). We just started watching -- what a great cast (as one would expect). Michael Kerpan Boston -------------- next part -------------- An HTML attachment was scrubbed... URL: From reavolution at gmail.com Sat Jan 25 23:12:22 2025 From: reavolution at gmail.com (Rea Amit) Date: Sat, 25 Jan 2025 22:12:22 -0600 Subject: [KineJapan] Kore-eda's Asura In-Reply-To: References: Message-ID: Hi Michael, I vividly remember how excited we were after watching the first episode of the NHK's original series in Aaron's class about ten years ago... Like that version, the new Netflix adaptation is also mainly set in Tokyo. I believe this is true also about Morita's 2003 film version. Best, Rea On Sat, Jan 25, 2025 at 9:49?PM Michael Kerpan via KineJapan < kinejapan at mailman.yale.edu> wrote: > Does anyone know where this new Kore-eda series is set? I only know WHEN > -- 1979 (the same period as the long-ago NHK series). We just started > watching -- what a great cast (as one would expect). > > Michael Kerpan > Boston > _______________________________________________ > 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 Tue Jan 28 10:22:54 2025 From: aaron.gerow at yale.edu (Aaron Gerow) Date: Tue, 28 Jan 2025 10:22:54 -0500 Subject: [KineJapan] Fwd: Talk: Ayelet Zohar, The Palestinian-Israeli conflict on documentary Japanese films @ at the MJHW (zoom), Feb. 3rd, 7:00pm (JST) References: Message-ID: > > Dear all, > Please join us for the next meeting of the Modern Japan History Workshop on Monday, February 3rd at 19:00 JST. Our presenter this month will be Ayelet Zohar (Tel Aviv University), who will present her work on the Palestinian-Israeli conflict in Japanese documentary films (details below). > This month's session will be held online through Zoom, and can be accessed using the following sign-in information. > https://rikkyo-ac-jp.zoom.us/j/84486358218?pwd=Rtx7qxaZrK7DhBppdqSH8YvTRGEWjA.1 > Meeting ID: 844 8635 8218 > Passcode: 066748 > The workshop is open to all, and no prior registration is required. > Please direct any questions to Joelle Nazzicone at joelle.nazzicone at gmail.com . We hope to see you there! > _______________________ > PFLP, Out of Place, Ghada, Nakba, and Tokyo Reels: The Palestinian-Israeli Conflict in Japanese Documentary Films > Ayelet Zohar (Tel Aviv University) > The Israeli Palestinian conflict is not a foreign resident in the Japanese discourse. It is dwelling in numerous films since the 1970s, embarking during the post 1970s ANPO demonstrations and the escape of Shigenobu Fusako (????b. 1945) to Beirut on that year. Since then, numerous films have deleved into the conflict, the tragedy, the drama, the trauma, the resilience and persistence of the Palestinian people, from multiple points of view. > In my presentation, I will review several documentary films, trying to answer the question: what makes this conflict so significant and magnetizing to Japanese artists and the public? I will attempt to draw lines between Japanese self-criticism towards attitudes of Embracing Defeat in the immediate postwar era; Indicating the romantic attraction and admiration of the Japanese Red Army to radical Left intellectuals; pointing at the sense of the underdog (h?gan biiki ????), in reference to Yoshitsune. > The presentation will look into Adachi Masao?s classic PFLP (1971) filmed in Beirut; Horikawa Ry?ichi?s Nakba (2006), created over a period of 26 years, following two Palestinian villages that had become refuges in 1948; Sato Makoto?s Out of place (2004), that looks into the life of Edward Said, along conversations with Palestinian- Israelis; Furui Mizue?s Ghada: Song of Palestine (2005), a film that engages with life and struggle in Gaza under the occupation of Israeli military in the 1990s; and finally, a collection of short documentary films assembled and presented for the first time in Documenta 15 (Kassel, Germany), under the title Tokyo Reels (2022). > > > > > > ********************************************************* ? > Ayelet Zohar, PhD MFA > ??' ???? ??? > ?. ???? ??? > ??????????? ?????? > ????? ??? > (Pronouns: she/ her) > ? > Senior Lecturer > Art History Department > The Yolanda and David Katz Faculty of the Arts > Rm. 110, Mexico Bldg. > Tel Aviv University > Tel Aviv 6997801 > Israel > Tel: +972-54-9208349 > Email: azohar at tauex.tau.ac.il > ? > President 2023-2025 > > Selected publications on Academia.edu https://telaviv.academia.edu/AyeletZohar > Website for artworks: http://ayeletzohar.blogspot.co.il/ -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Outlook-0yag2rvs.jpg Type: image/jpeg Size: 14786 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Outlook-coz2gtmg.png Type: image/png Size: 68403 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Outlook-gcnmwgmb.png Type: image/png Size: 13966 bytes Desc: not available URL: From aaron.gerow at yale.edu Wed Jan 29 22:49:32 2025 From: aaron.gerow at yale.edu (Aaron Gerow) Date: Wed, 29 Jan 2025 22:49:32 -0500 Subject: [KineJapan] Japan Box Office 2024 Message-ID: <745C6C18-8AE4-4409-B8DE-BB26343E0E92@yale.edu> The totals for the Japanese movie box office in 2024 were released. The overall BO down 6.5%, but the BO for Japanese films broke a record. Foreign film BO was down and only earned half of pre-COVID levels. In the end,Japanese films had a 75.3% share of the domestic BO. Both Anime and the Toho studio remained strong, while Hollywood is doing terrible in Japan. https://natalie.mu/eiga/news/609578 You can also access the Eiren statistics here. https://www.eiren.org/toukei/index.html Aaron Gerow Alfred W. Griswold Professor of East Asian Languages and Literatures and Film and Media Studies Chair, East Asian Languages and Literatures Director of Graduate Studies, EALL (Spring 2025) 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: From nornes at umich.edu Thu Jan 30 15:41:37 2025 From: nornes at umich.edu (Markus Nornes) Date: Thu, 30 Jan 2025 15:41:37 -0500 Subject: [KineJapan] =?utf-8?q?CJS_Pubs_Flash_Sale=E2=80=94=245/book!?= Message-ID: <55D9ECF0-48A8-4894-AF4A-BFC172BB2A6D@umich.edu> Hello Everyone, CJS Pubs at Michigan is holding a flash sale: Quite a few books are only $5 a pop, including hardbacks! All other books get a 30% discount. Just apply the promo code CJS at check out. As you probably know we have a great list for Japanese film, but this includes all fields! Order away! The sale ends April 1. Markus PS: Here are our main books for Japanese film and media: https://doi.org/10.3998/mpub.9340103? Research Guide to Japanese Film Studies doi.org https://doi.org/10.3998/mpub.9340131? A Page of Madness doi.org https://doi.org/10.3998/mpub.9340049? Television, Japan, and Globalization doi.org https://doi.org/10.3998/mpub.9340076? Shadows on the Screen doi.org https://doi.org/10.3998/mpub.9340139? Ozu?s Anti-Cinema doi.org https://doi.org/10.3998/mpub.9306347? My Life as a Filmmaker doi.org https://doi.org/10.3998/mpub.11486286? Negative, Nonsensical, and Non-Conformist: The Films of Suzuki Seijun doi.org https://doi.org/10.3998/mpub.11946212? Toward a Gameic World: New Rules of Engagement from Japanese Video Games doi.org https://doi.org/10.3998/mpub.12233973? The Time of Laughter: Comedy and the Media Cultures of Japan doi.org -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 9781929280537_cover1_rb_fullcover.jpg Type: image/jpeg Size: 31343 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 9781929280513_cover1_rb_fullcover.jpg Type: image/jpeg Size: 38140 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... 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Name: default.jpg Type: image/jpeg Size: 92774 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: default.jpg Type: image/jpeg Size: 95565 bytes Desc: not available URL: From aaron.gerow at yale.edu Fri Jan 31 21:46:21 2025 From: aaron.gerow at yale.edu (Aaron Gerow) Date: Fri, 31 Jan 2025 21:46:21 -0500 Subject: [KineJapan] Eiga Geijutsu Best Ten 2024 Message-ID: <7561EA1D-453F-416D-A68B-85DAAD230350@yale.edu> I hadn't seen anyone posting about the Eiga Geijutsu Best Ten for 2024, so here it is. Inoue Jun'ichi's Seishun Jakku 2 (Hijacked Youth 2) was number one, with Miyake Sho's Yoake no subete (All the Long Nights) and Okuyama Hiroshi's Boku no ohisama (My Sunshine) coming next tied for second. Hamaguchi Ryusuke's Aku wa sonzai shinai (Evil Does not Exist) and Kurosawa Kiyoshi's Cloud followed in fourth and fifth. Eigei does have a Worst Ten list, and Fujii Michihito's Shotai was selected as the worst. ????? 1???????? ???????????2?????????? 2?????????????????? 2??????????????????? 4??????????????????? 5??Cloud ????????????? 6??SUPER HAPPY FOREVER??????????? 7????????????????????????? 8????????????????? 9??????????????????? 10???????????????????? ?????? 1?????????????? 2????????????????? 3??????????????????? 4???????????????? 5????????????????? 6???????????????? 7????????????????????? 8???????????????? 8?????????????????? 8?????29?????????? https://natalie.mu/eiga/news/609390 Aaron Gerow KineJapan owner Professor Film and Media Studies Program/East Asian Languages and Literatures Yale University KineJapan: https://mailman.yale.edu/mailman/listinfo/kinejapan Kinema Club: http://kinemaclub.org/