From jjesty at proton.me Tue Sep 2 15:20:37 2025 From: jjesty at proton.me (jjesty) Date: Tue, 02 Sep 2025 19:20:37 +0000 Subject: [KineJapan] Postdoctoral Fellow in EA Cinema and Media at U of Idaho Message-ID: A postdoc position that might be of interest ... The Habib Institute for Asian Studies at the University of Idaho invites applications for a two-year postdoctoral fellowship in East Asian Cinema and Media Studies, with a start date of January 5, 2026. Fellows will pursue their own research, teach two undergraduate courses per annum (as determined by the needs of the College and the Institute), and assist with the Institute?s administrative and outreach functions. https://uidaho.peopleadmin.com/postings/49354 Deadline is Sept. 15, 2025. All best wishes, Justin Jesty washington.academia.edu/JustinJesty -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Fri Sep 5 08:46:15 2025 From: aaron.gerow at yale.edu (Aaron Gerow) Date: Fri, 5 Sep 2025 21:46:15 +0900 Subject: [KineJapan] Plagiarism in Death By Hanging Message-ID: <2829DBE8-DD44-4C1E-9FDE-D3AB55C66F6E@yale.edu> In an online piece for Shueisha Shinsho, filmmaker Yang Yonghi analyzes the charges of plagiarism in Oshima Nagisa's Death by Hanging. As covered in the film Yomogaeru Koe, a documentary about Park Soo-nam which is still showing in theaters, Oshima used numerous sections of Park?s book of correspondences with Ri Chin-u, the real person on which the film's character R is based, but without crediting her or the book in the film. The significance of the book?and the fact that Koyama Akiko?s character is partially based on Park?is not new to me, since English language scholarship on the film notes that. Yang-san?s contribution has been to closely compare the book and film scenario to list up instances of problematic similarities, with a number of cases where whole sentences and statements are lifted word for word. She interviews Park Soo-nam about her reaction (which is mostly dismissive?to her, Oshima was the kind of man to do something like that), notes sections in the ATG pamphlet and a later book by Oshima admitting to his use of the book, and talks to Oshima's son Arata about the case. https://shinsho-plus.shueisha.co.jp/news/31810 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 aaron.gerow at yale.edu Thu Sep 11 01:32:38 2025 From: aaron.gerow at yale.edu (Aaron Gerow) Date: Thu, 11 Sep 2025 14:32:38 +0900 Subject: [KineJapan] Yoshiyuki Kazuko Message-ID: Sorry for the delay, but it was announced a few days ago that the great actor Yoshiyuki Kazuko died on September 2 at the age of 90. Trained at Gekidan Mingei, she first came to prominence playing Anne Frank on stage. Initially signing with Nikkatsu before going freelance, she appeared in films by Imamura Shohei (My Second Brother), Oshima Nagisa (Empire of Passion), Yamada Yoji, and others, winning many awards. She also appeared in over 100 TV dramas, including the Asadora Aguri, which was about her mother, a famed beautician who was married to the novelist Yoshiyuki Eisuke and mother to the writers Yoshiyuki Junnosuke and Yoshiyuki Rie. https://www3.nhk.or.jp/news/html/20250909/k10014917261000.html 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 amanda.weiss at modlangs.gatech.edu Tue Sep 16 09:28:08 2025 From: amanda.weiss at modlangs.gatech.edu (Weiss, Amanda) Date: Tue, 16 Sep 2025 13:28:08 +0000 Subject: [KineJapan] Southeast Conference for AAS (Atlanta) Message-ID: Hi All, My apologies for cross-listing. If you are interested, the Southeast Conference of the Association for Asian Studies (SEC/AAS) is inviting proposals for the annual conference in Atlanta (January 23-25, 2026). Proposals are due October 31st, 2025. Presentations on Asia-related film studies/media studies are particularly welcome. Website: https://www.sec-aas.com/conf Best, Amanda Weiss Amanda Weiss Associate Professor of Japanese Studies Director of Graduate Studies School of Modern Languages Georgia Institute of Technology E-mail: amanda.weiss at modlangs.gatech.edu Phone: (360) 890-0377 Book: Han Heroes and Yamato Warriors: Competing Masculinities in Chinese and Japanese War Cinema Magazine: Hivemind: Global Speculative Fiction Lab: East Asian Media VIP [cid:0b12229a-e6a4-4080-bc22-75a0dde86ebd] Book time to meet with me -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Outlook-cxf22cxf.png Type: image/png Size: 528 bytes Desc: Outlook-cxf22cxf.png URL: From hakutakuwest at gmail.com Tue Sep 23 07:40:45 2025 From: hakutakuwest at gmail.com (Paul Berry) Date: Tue, 23 Sep 2025 20:40:45 +0900 Subject: [KineJapan] thoughts about Kinema Club XXIV in Kyoto plus an exhibition on wartime art Message-ID: A few miscellaneous thoughts about Kinema Club XXIV in Kyoto plus information on an important exhibition on wartime art being held now at the Tokyo Kokuritsu Kindai Bijutsukan (MOMAT) The recent Kinema Club gathering in Kyoto was full of interesting talks on very diverse topics by an equally diverse array of speakers. It has always been a forte of our meetings to include people with diverse perspectives and backgrounds as was true here. It was excellent that the talks and films were spread over several days that allowed opportunities to discuss the papers with people over lunches and dinners. In the course of these days I heard concerns from some that were uncomfortable about the diversity and reception as there were many levels of knowledge about cinema and other disciplines coming together rather abruptly. Although this was true, it seems it can be viewed as a virtue of the openness of the organization that prevents it from becoming too clubby that can happen when there could be too many like-minded people. One of the benefits and simultaneous challenges in teaching classes is how to present ideas to a diverse and sometimes challenging audience. This is true in meetings like this as well. Having differences of opinion and orientation provides a stimulus and an incentive to further refine how we present our ideas to diverse audiences. At the moment I have no time to discuss thoughts about the many stimulating presentations and discussions but would like to mention one that prompted some active discussion. Shota Uchiyama?s presentation ?Cinema, Affect, and the Female Spectatorship: Revisiting Osaki Midori?s Eiga mans? ? effectively introduced some stimulating approaches to spectatorship found in that article that engages what could be called a multidimensional appreciation of the actual lived responses of viewers to films that is not so unidirectional as is often the case in film criticism with detailed analysis. This raises the need for the study of film to more fully contextualize film and viewership in the larger social environment in which films are produced and experienced that goes well beyond the world of cinema perse. Despite her work having been taken up by several authors in the last few decades, I was unaware of this fascinating essay and the work of Osaki. The discussion that followed was interesting for the varied reactions it produced and despite the length of the several days of the gathering, it would have been great to have had still more time to discuss Osaki?s work as was indeed true for the other presentations. Osaki Midori?s *Eiga mans?* essay can be found in Gerow, Iwamoto, Nornes, ed. *Nihon sensen eiga ronshu*, Tokyo: Yumani Shobo, 2018, 423-439. Overall the combination of talks and films at the Kyoto meeting was successful for providing opportunities to engage in many important topics. For those interested in wartime Japan and cinema, the following exhibition is of great interest for providing much insight into the visual presentation of the war in painting and photography. Although not referencing cinema much directly (there are video monitors with well chosen wartime news reel footage playing plus there are scattered references to actors and actresses) one of the finest exhibitions ever held on the topic of Japanese painting related to the 15-years war (1931-1945) is now underway at the Tokyo Kokuritsu Kindai Bijutsukan (MOMAT). Having started on July 15, it continues until October 26 with a substantial change over of some works in early Sept. Its title is so vague (see below) that it seems likely that many people are unaware of its contents and the comprehensive nature of this very large exhibition that fills the whole first floor of the Museum. The general wall panels and the individual labels include critical information about the meaning, symbolism, and sometimes reception of the works. It is highly regrettable that this outstanding show has no catalogue. The plus side is that photography is permitted for most of the works in the show excepting the various works borrowed from other museums. I urge those who see this show to take as many photos as they can, not only of the works but of the labels and insightful wall panels as well, as without any sort of catalogue little trace of it will remain after the closing date. There was a Nichiyo Bijutsukan program last Sunday on it which will be repeatedly in a week. Opening Documents, Weaving Memories: A Special Exhibition Featuring Works from the Museum Collection - ????????? https://www.momat.go.jp/en/exhibitions/563 ?????????????? ?????? ?????? >From opening statement for the exhibit: ?In displaying the War Record Paintings, which served as wartime propaganda, we reexamine, based on historical facts, the social roles assigned to art under the wartime regime. ?. Eighty years after the end of World War II, we face the question of how generations with no direct experience of the war can engage with the past. Ultimately, the answer depends on how we, living in the present, choose to act.? An essential introduction to the definition of Wartime Art (Sensoga) that has long been recommended by some scholars (myself included) is presented in a wall panel as follows: ?Classification of Wartime Art (Terms and Subject Matter) A vast number of paintings were produced and exhibited during the war. Among them, the Operation Record Paintings (?????) held by the National Museum of Modern Art, Tokyo, are official works commissioned by the military, and account for only a small portion of the whole. In terms of subject matter, battle scenes deemed worthy of military-historical documentation were selected. Meanwhile, the term ?War Record Painting???????? refers to works depicting battle scenes in a monumental manner, regardless of whether they were commissioned by the military. A Broader field of art reflecting the wartime climate developed around these, with themes such as the frontlines, the home front, continental Asiana and southern Asia-Pacitic landscapes, historical scenes, Buddhist imagery, and icons including cherry blossoms and Mount Fuji. Since no established term exists to collectively describe this body of work, this chart provisionally uses the term Wartime Art. The more general term War Painting is also in use, but its definition is not fixed. In a narrow sense, it refers to the War Record Paintings described above, while in a broader sense It may include all paintings depicting some aspect of the total war effort.? An abbreviated list of exhibited works is found on the link below, yet it does not include the broad array of additional works and materials including photos, magazines, postcards, posters, etc that form the essential context for the wartime viewing and presentation of the exhibited paintings in Japan. Despite the title of the show, there are many works borrowed from other museums and private collections. Since around 1990 MOMAT has displayed a small selection of Sakusen Kirokuga on ?loan? from the US in its usual standing exhibits, yet they often rotate among a few especially well known works, however, in this show some that are very rarely seen are hung and a few more are visible on other floors as well. https://www.momat.go.jp/wp-content/uploads/2025/07/LIST_EN_250701.pdf The exhibit starts its timeline in 1931 yet continues well into the postwar world describing how attitudes towards wartime painting also affected the Japanese view of the Vietnam War and other conflicts. It includes scattered works by Asian artists outside of Japan as well. Beyond the exhibition proper, each of the other floors are exhibiting related paintings. For instance, in the upper floor section devoted to Nihonga are works from the following three groups: Exhibition for Battleship Donation Members of the Imperial Fine Arts Academy held an Exhibition for Battleship Donation in Feb. 1944 at the Hyokeikan of The Tokyo Imperial Household Museum (now Tohaku) including such artists as Yokoyama Taikan, Kawai Gyokudo, Kobayashi Kokei, and Yasuda Yukihiko. This was part of a fund raising campaign to replace two battleships lost in the Third Battle of the Solomon Islands. Album of Paintings 1942-1943 Yokoyama Taikan and others This album was created to celebrate the 10th anniversary of the establishment of Manchukuo for Presentation to then-Prime Minister Tojo Hideki. Created by members of the Imperial Art Academy including Yokoyama Taikan, Kawai Gyokudo, Kosugi Hoan, Nakamura Fusetsu, Fujita Tsuguharu, etc. Exhibition for Military Aircraft Donation 1942 Organized by the Nihongaka hokoku kai (NIhonga Painters Patriot Association), this exhibition was held at the Nihonbashi Mitsukoshi in March 1942 and then traveled to Osaka. MOMAT collection has 184 of the works shown all of which were purchased by Mitsukoshi with the proceeds of 200,000yen (equivalent to approx. 500 million yen today) donated to the Army and Navy while the paintings were given to the Imperial Household Museum (now Tohaku). The second floor has a section devoted to recent acquisitions of Korean paintings and sculpture, including some from the war years. Other floors also have works by women from related time periods and topics. Please pass this information on to anyone you think might be interested in this important and perennially timely topic. This is a show deserving of wide discussion and thought. Paul Berry Independent Scholar Kyoto -------------- next part -------------- An HTML attachment was scrubbed... URL: From wnakane at usc.edu Fri Sep 26 21:06:49 2025 From: wnakane at usc.edu (Wakae Nakane) Date: Sat, 27 Sep 2025 01:06:49 +0000 Subject: [KineJapan] =?windows-1252?q?CFP=3A_Spectator_46=2E2=97The_Amate?= =?windows-1252?q?ur_Reconsidered_=28Due_Dec_1=2C_2025=29?= Message-ID: Hello all, I?m circulating the call for papers for Spectator 46.2, ?The Amateur Reconsidered: Media, Labor, Publics.? If this topic is of interest, please see the description below for details on scope, submission guidelines, and timeline. Kind regards, Wakae -- Wakae Nakane (she/her) Post-Doctoral Teaching Fellow Division of Cinema & Media Studies University of Southern California, School of Cinematic Arts wnakane at usc.edu Call for Papers Spectator Special Issue: The Amateur Reconsidered: Media, Labor, Publics Volume 46.2 Fall 2026 The category of the ?amateur? has long been marked by instability. Etymologically linked to love (amator), the amateur historically signified passion and connoisseurship, yet in modern usage it has oscillated between devotion and dilettantism. This semantic tension has shaped how amateur practice has been positioned within aesthetic discourse, labor history, and the formation of the public sphere. Cinema and media studies has repeatedly returned to amateurism to both dismiss it and laud its critical and creative possibilities. Accounts of home movies and small-gauge film cultures once considered them part of the marginalia of personal or domestic life, but scholarship has since demonstrated their aesthetic, social, and historical significance. Scholarship, including Patricia Zimmermann?s foundational work, has situated amateur media within broader institutional and discursive frameworks, from the formation of aesthetic norms in clubs and contests to the intersections of labor history, expertise, and the public/private divide. Simultaneously, amateur practice has been examined as a counter-aesthetic and an alternative mode of production, as in Maya Deren?s ?Amateur Versus Professional? (1959), which framed amateur film as resistant to the industrial logics of Hollywood. Yet amateurism has also been understood as politically mobilized: Soviet avant-garde circles and interwar Japanese movements such as Prokino envisioned the amateur as a figure of collectivism, workers? culture, and social transformation. These diverse trajectories indicate that amateurism has never been a singular phenomenon, but rather a contested and heterogeneous category that both reflects and unsettles the boundaries of cultural production and consumption. At a moment when digital platforms both amplify non-professional production and intensify regimes of credentialization, amateurism demands renewed critical scrutiny. How might the consideration of amateur practice illuminate shifting conceptions of authorship, expertise, and creativity? In what ways does amateurism negotiate or contest the professionalization of cultural life? And how might the figure of the amateur reframe our understandings of mediation, publicness, and the politics of work and play? This special issue of Spectator seeks contributions that interrogate amateurism as a theoretical and historical category across media forms and cultural contexts. We welcome essays that draw from diverse archives and methodologies, including studies of amateur film and video, domestic and vernacular media, digital platforms, and transnational amateur practices. Possible topics include, but are not limited to: * Histories and theories of amateur media * Digital platforms and amateur media * Amateur media in a transnational/global context * The politics of amateurism * The aesthetics of amateur media * Leisure, hobbies, audienceship, and labor * Home movies * Fandom * Preservation and archival practices regarding amateur media * Pedagogical approaches to amateur media * Book reviews of recent scholarship examining amateur media Deadline for Submission: December 1, 2025 Spectator is a biannual publication by the University of Southern California, School of Cinematic Arts, Division of Cinema & Media Studies. Manuscripts to be considered for publication should be sent to: Issue Editor: Wakae Nakane USC School of Cinematic Arts 900 W. 34th St. Suite 320 Los Angeles, CA-90089 wnakane at usc.edu Submissions should be e-mailed directly to the issue editor. Manuscripts should include the title of the contribution, name of author(s), postal address, e-mail address, and a phone number for the author who will work with the editor on revisions. Contributions should not exceed 5,000 words. Please include a brief abstract and author bio for publicity purposes. Articles submitted should not be under consideration by any other journals. Book Reviews may vary in length from 300 to 1,000 words. Please include title of book, retail price and ISBN at the beginning of the review. Additional section contributions can include interviews, works about new archival or research facilities as well as newly developed methods related to the field. Authors should send copies of their work via e-mail as electronic attachments. Files should be formatted in the latest version of Microsoft Word and endnotes should conform to the Chicago Manual of Style. Upon acceptance, a detailed format/style sheet will be forwarded to all contributors as to the requirements for the submission of images and text. Current Board for Spectator Founding Editor: Marsha Kinder Managing Editor: TBD Issue Editor: Wakae Nakane -------------- next part -------------- An HTML attachment was scrubbed... URL: