From nornes at umich.edu Sat Mar 1 09:49:52 2025 From: nornes at umich.edu (Markus Nornes) Date: Sat, 1 Mar 2025 09:49:52 -0500 Subject: [KineJapan] Event: The Present and Future of the Chinese Entertainment Market 2025 Message-ID: There is a very interesting event coming up about the relationship of Japanese and Chinese film industries organized by Nakajima Seio. They?ll broadcast it by Zoom and it?s bilingual. Here?re the details (link for registration and more info at the bottom). Markus The Present and Future of the Chinese Entertainment Market 2025 Views from Japan Organizers: Sasakawa Peace Foundation/Japan China Entertainment Economic Forums Co-Organizers: Waseda Institute of Asia-Pacific Studies (WIAPS), Research Group on Contemporary Chinese Independent Film/Graduate School of Asia-Pacific Studies (GSAPS) The Sasakawa Peace Foundation (SPF) and Japan China Entertainment Economic Forums (JCEE) are set to host a public symposium focusing on the entertainment and creative industries in China. Japan?s films, animations, games, and intellectual properties (IPs) have consistently been popular in China. Traditionally, there has been a significant flow of cultural products from Japan to China in the entertainment sector, with relatively limited influence in the opposite direction. However, in recent years, Chinese animations, games, and IPs have gained increasing popularity in Japan. Furthermore, during the Japan-China High-Level People-to-People and Cultural Exchange Dialogue in December 2024, both sides reaffirmed their commitment to enhancing exchanges through creative-industry content. This symposium aims to reassess the current state of Japan-China cultural exchange in the entertainment sector by examining the latest developments in China and the current status of entertainment exchanges between the two countries, while also exploring future prospects. The symposium will cover topics such as the history of ACG (Animation, Comics, and Games) culture in China, investment trends in the entertainment sector, as well as discussions on games and films. We hope that through this symposium, we can gain new insights into the evolving Japan-China relationship through the lens of the entertainment industry. *Talks will be in Japanese, but Japanese-English simultaneous interpretation will be provided. https://www.spf.org/en/seminar/list/20250306_2.html? The Present and Future of the Chinese Entertainment Market 2025 spf.org -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 39240-ogp-20240221183702.jpeg Type: image/jpeg Size: 61380 bytes Desc: not available URL: From azahlten at fas.harvard.edu Sun Mar 9 07:10:18 2025 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Sun, 9 Mar 2025 11:10:18 +0000 Subject: [KineJapan] Call for Papers: Kinema Club in Kyoto (August 1-3) In-Reply-To: References: <95e2c261-304a-409c-bd51-bb43deed6ae9@univ-lorraine.fr> Message-ID: Hello Everyone, As previously announced, please find below a Call for Papers for a Kinema Club to be held in Kyoto on August 1-3, 2025 on the topic of sexuality and gender. Prof. Yuka Kanno of Doshisha University and I are co-organizing, and it is planned to be held at Doshisha University and at screening venues around Kyoto. While the call may seem like a bit of short notice, we wanted to avoid clashing with the call for papers for the Kinema Club held at Nippon Connection Film Festival in Frankfurt, Germany, this May/June (more on the fantastic program there soon!). We at first considered moving this KC to next year, but decided that the topic has special significance at this moment, and it is a conference that would be important to be held now. The conferences languages will be English and Japanese- and while Kyoto in August is hot, we will do our best to keep you cool; we hope to see you there! All best Alex Kinema Club Conference for Film and Moving Images from Japan XXIV In Kyoto Dates: August 1 - 3, 2025 Location: Kyoto Proposal Deadline: April 14, 2025 Organized by: Yuka Kanno (Doshisha University) & Alexander Zahlten (Harvard University) Conference languages: English & Japanese We welcome proposals for the 24th Kinema Club Conference for Film and Moving Images from Japan, to be held in Kyoto on the topic of gender and sexuality and cinema and moving images from/ in Japan. The conference will consist of two sections, one with panel presentations and one with discussion roundtables that will, as far as possible, be tied to film screenings. Conference theme: This conference aims to take stock of the discussion of gender and sexuality with regard to cinema in Japan and to encourage conversations on future directions. Put differently, what possibilities do we have for discussing gender and / or sexuality with and through film and moving images from / in Japan? How has the discussion or conceptualization of gender and/or sexuality changed in film and moving images in Japan? The rise of media studies has led to attempts to go beyond representation, or to structurally tie representation to technologies, infrastructures, or cross-media dynamics such as media mix. Do these approaches offer new perspectives, or do we need to search out a third (fourth, fifth?) way? Similarly, we envision discussing gender and sexuality and their intersection(ality) with other categories in relation to broader cinematic practices, including but not limited to identities and representations. Papers / Panels: As outlined above, we encourage submission of papers that point - be it in methodology or topic - to the future of the study of gender and/or sexuality within the study of film and moving images from/in Japan. However, that may also mean retaining or returning to certain methodologies depending on how appropriate they seem to the historical or disciplinary moment. Papers will be fifteen minutes in length, with the emphasis on leaving ample time for discussion. Papers may be presented in English or Japanese. 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. What do national signifiers like ?Japan? offer to work on gender and/or sexuality with regard to film and moving images ?in Japan?? We especially seek for graduate students to apply, and encourage drawing on dissertation topics. Screenings: The conference will be partially held at Doshisha University and partially at local film theaters, and will include film screenings (exact titles to be announced soon). Roundtables: Roundtable 1: The films / moving images: What is the current status of gender and / or sexuality in film, film culture, or in filmic practices in or from Japan? This discussion will use the conference screenings as a launchpad but go well beyond them to consider ongoing developments. Roundtable 2: The theory: What are developments in various disciplinary and methodological areas that seem central to current and future discussion of gender and sexuality in film and moving images, not only in or from Japan? Proposals: Panel papers: Please send abstracts of up to 200 words in English or 150 characters in Japanese and a short bio. Note: When sending a proposal please indicate if you are also open to participating in a roundtable. Proposal submission: KC.Kyoto.2025 at gmail.com Deadlines: Paper proposals: April 14 -------------- next part -------------- An HTML attachment was scrubbed... URL: From lucie.rydzek at univ-lorraine.fr Tue Mar 11 07:01:58 2025 From: lucie.rydzek at univ-lorraine.fr (Lucie Rydzek) Date: Tue, 11 Mar 2025 12:01:58 +0100 (CET) Subject: [KineJapan] (Deadline Extension) CfP - Young Researchers Colloquium "From Japan to Brazil and Vice-Versa" - Deadline March 18, 2025 In-Reply-To: <41708847.510108.1740647042955.JavaMail.zimbra@univ-lorraine.fr> References: <95e2c261-304a-409c-bd51-bb43deed6ae9@univ-lorraine.fr> <41708847.510108.1740647042955.JavaMail.zimbra@univ-lorraine.fr> Message-ID: <308248667.930288.1741690918217.JavaMail.zimbra@univ-lorraine.fr> Dear All, The deadline to submit a paper to the international young researchers colloquium "From Japan to Brazil and Vice-versa: Historical and Aesthetic Perspectives of a Diasporic Cinema" has been extended to March 18th, 2025. 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 [ mailto:lucie.rydzek at univ-lorraine.fr | lucie.rydzek at univ-lorraine.fr ] , [ mailto:romane.carriere at ens-lyon.fr | romane.carriere at ens-lyon.fr ] and [ mailto:emmanuel.dayre at ens.fr | 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 18th, 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... 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