DOCSLIB.ORG

Bernardicv 9.12.17 .Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bernardicv 9.12.17 .Pdf JOANNE RENATA BERNARDI Academic Appointments University of Rochester, Rochester NY Professor of Japanese and Film and Media Studies 2017-present Head, Japanese Program, Dept. of Modern Languages and Cultures 2015-present Associate Professor of Japanese and Film and Media Studies 2000-2017 Assistant Professor of Japanese and Film and Media Studies 1994-2000 Interdepartmental program faculty: Digital Media Studies Program Advisory Committee 2015-present Graduate Program in Photographic Preservation and 2014-present Collections Management Selznick Graduate Program in Film and Media Preservation 2004-present Film and Media Studies Program 1994-present Associate, Susan B. Anthony Inst. for Gender and Women's Studies 1994-present Affiliated Faculty, Graduate Program in Visual and Cultural Studies 1994-present Interim Director, Film and Media Studies Spring 2015 Academic Advisor, Selznick Graduate Program in Film and Media 2008-2010 Preservation Director, Film and Media Studies 2004-2007 Interim Director, Film and Media Studies 2001-2002 Harvard University, Edwin O. Reischauer Inst. of Japanese Studies Research Associate 1993-present Postdoctoral Research Fellowship 1993-1994 Wellesley College, Wellesley, M.A. Visiting Assistant Professor of Japanese 1992-1993 Ibaraki University, Mito, Japan Associate Professor, Liberal Arts (tenured) 1990-1993 Assistant Professor, Liberal Arts 1987-1990 Education George Eastman Museum 2007-2008 L. Jeffrey Selznick School of Film Preservation Certificate Program Columbia University (East Asian Languages and Cultures: Japanese Studies) Ph.D. 1992 “The Early Development of the Gendaigeki Screenplay: Kaeriyama Norimasa, Kurihara Tōmas, Tanizaki Jun’ichirō and the Pure Film Movement” (Donald Keene) M.A./M.Phil. Orals passed with Distinction “Ugetsu Monogatari: The Screenplay” (Paul Anderer) 1984 Waseda University, Tokyo (Doctoral Research Fellow affiliation) 1984-1985 School of Literature (Film Studies) The New School for Social Research; Columbia University (General Studies) 1978-1980 Kansas City Art Institute, Kansas City, MO Dec. 1977 B.F.A., Photography, Film and Video Studies Osaka University of Arts, Osaka, 1976-1977 Department of Visual Arts, Image Arts and Sciences 2 Alpha Delta Kappa Fine Arts Grant Recipient in Photography Fellowships & Grants External NEH Summer Institute Fellow July 2013 “American Material Culture: 19th Century New York” Bard Graduate Center: Decorative Arts, Design History, Material Culture Japan Foundation Short Term Research Grant 2003-2004 “Tourist Japan” (Tokyo and Kyoto, November-January) NEH Summer Institute Fellow June 2002 "Modernity, Early Modernity, Postmodernity in Japan" University of Southern California Japan Foundation Publication Grant 2000 Writing in Light (Wayne State University Press, March 2001) Susan B. Anthony Research Institute for Women’s Studies 1995 Research and Travel Grant (Japan) Association of Asian Studies Northeast Area Council 1995 Research and Travel Grant (Japan) American Council of Learned Societies 1994 International Conference Travel Grant, International Symposium on Tanizaki Jun’ichirō (Venice, March 1995) Harvard University, Edwin O. Reischauer Inst. of Japanese Studies 1993-1994 Postdoctoral Research Fellowship Fulbright Doctoral Research Fellowship 1984-1986 Japan-United States Friendship Commission Social Science Research Council 1984-1985 Doctoral Research Fellowship Columbia University 1984-1985 Suntory Fellowship in Japanese Studies Alpha Delta Kappa Fine Arts Grant 1976-1977 Recipient in Photography Internal Rochester Center for Community Leadership (4 successive years) Spring 2015-2018 Community Engaged Learning Grant, “Film as Object” Community Engaged Learning Grant, “Tourist Japan” Researcher Mobility Travel Grant Aug. 2016 11th Film Preservation Workshop, Tokyo Interview, Prof. Yoneo Ota, Toy Film Museum, Kyoto Co-PI, University of Rochester Pilot Research Award ($21,442) 2014-2015 Re-Envisioning Japan as Destination in 20th Century Visual and Material Culture (with N. Dimmock) University of Rochester College Teaching, Learning, and Technology 2011-2012 Roundtable Faculty Grant ($2000) The Humanities Project-University of Rochester Co-PI, 15th International Domitor Conference and Graduate Workshop ($8,000) Spring 2018 PI, “Looking Like the Enemy: The WWII Japanese American Experience” ($450) Fall 2016 PI, “Film Lost and Found: The Experience of Pre- and Silent Cinema” ($17,780) Spring 2010 3 Participant, “Robin Hood: Media Creature” Fall 2009 Co-PI, “Global East Asia: Media, Popular Culture, and the Pacific Century” ($28,200) Spring 2009 Co-PI, “The Future of the Archive in the Digital Age” 2006-2007 Publications Digital Scholarship Re-Envisioning Japan: Japan as Destination in 20th Century Visual and Material Culture. Rochester, NY: University of Rochester Digital Scholarship Lab, River Campus Libraries. First WordPress iteration (2013-2016): http://humanities.lib.rochester.edu/rej/. New Omeka site: http://rej.lib.rochester.edu/ (January 2017). My personal collection of ephemera that informs this project has been donated to the Department of Rare Books, Special Collections and Preservation, River Campus Libraries, where it will be rehoused and preserved as The Re-Envisioning Japan Research Collection. Books Writing in Light: The Silent Scenario and the Japanese Pure Film Movement. Detroit: Wayne State University Press, 2001. Recipient, Japan Foundation Publication Grant. Finalist, Theatre Library Association Book Award. Juzō Itami. Global Film Directors series, ed. Homer Pettey and Barton Palmer. Rutgers University Press [invited, in progress] Edited Books Routledge Handbook of Japanese Cinema, ed. Joanne Bernardi and Shota Ogawa. [invited, in progress] Edited book chapters, journal articles (refereed/invited) “The Toy Film Project and Toy Film Museum,” co-authored with Yoneo Ota, in the Routledge Handbook of Japanese Cinema, ed. Joanne Bernardi and Shota Ogawa. [in progress] “20th Century Monster,” in A Companion to Japanese Cinema, ed. David Desser, Wiley Blackwell. [invited, in progress] “Creative Curating: The Digital Archive as Argument” (with Nora Dimmock), in Making Things and Drawing Boundaries: Experiments in the Digital Humanities, ed. Jentery Sayers, 187-197. Special volume in the Debates in the Digital Humanities series, University of Minnesota Press. Forthcoming January 2018. (refereed) “Dare vita alla pagina: la collaborazione con Yoda Yoshikata,” in Bellezza e Tristezza: Il cinema di Mizoguchi Kenji, ed. Dario Tomasi. Milano: Editrice Il Castoro, 2009, 159-171. (invited) "Teaching Godzilla," in In Godzilla's Footsteps: Japanese Pop Culture Icons on the Global Stage, ed. William M. Tsutsui and Michiko Ito. New York: Palgrave, 2006, 111-125. (refereed) “Osaka Elegy: Revisiting 1930s Mizoguchi,” in Film Analysis: A Norton Reader, ed. Jeffrey Geiger and R.L. Rutsky. New York and London: W.W. Norton & Co., 2005, 260-281; 2nd ed., W.W. Norton & Co., 2013, 240-261. (invited) “Researching Japanese Silent Cinema/Japanese Cinema as an Academic Adventure,” in Asian Cinema–Yesterday, Today and Tomorrow, ed. Myung-Kyu Park. Seoul: Korean Film Archive, 2002, 271-284. Proceedings, Asian Cinema--Yesterday, Today and Tomorrow, FIAF (International Federation of Film Archives) 58th Congress, Seoul, April 22, 2002. (invited) “The Literary Link: Tanizaki and the Pure Film Movement,” in A Tanizaki Feast, ed. Adriana Boscaro and Anthony Chambers. University of Michigan: Michigan Monograph Series in Japanese Studies 24 (1998), 75-92. (invited) “Genre Distinctions in the Japanese Contemporary Drama Film,” in La nascita dei generi cinematografici/The Birth of Film Genres, ed. Leonardo Quaresima et al. Udine: Forum, 1999, 4 407-421. Proceedings, The Birth of Film Genres, V International Conference on Film Studies, Università degli Studi di Udine, March 26-28, 1998. (refereed) “Tanizaki Jun’ichirō’s ‘The Present and Future of the Moving Pictures’,” in Currents in Japanese Culture: Translations and Transformations, ed. Amy Vladeck Heinrich. New York: Columbia University Press, 1997, 291-308. (invited) “Norimasa Kaeriyama and The Glory of Life,” Film History vol. 9 no. 4 (1997), 365-387. (invited) “The Pure Film Movement and the Contemporary Drama Genre in Japan,” in Film and the First World War, ed. Karel Dibbets and Bert Hogenkamp. Amsterdam: Amsterdam University Press, 1995, 50-61. (selected proceedings) “The Suffering Heroine: Women in the Films of Mizoguchi Kenji, Naruse Mikio, and Ozu Yasujirō.” Ibaraki University Journal of the College of Liberal Arts and Sciences no. 20 (1988), 105-120. “Catching a Film Audience Abroad,” Japan Quarterly vol. 32 no. 3 (July 1985), 290-295. (invited) “Bungaku-teki renkan—Tanizaki Jun’ichirō to jun’eigageki undō” (文学的連関—谷崎潤一郎 と純映 画劇運動, Tanizaki Jun’ichirõ and the Pure Film Movement) in Tanizaki Jun’ichirō–An International Symposium. Tokyo: Chūō Kōronsha, 1996, 90-114. (invited) Journalism “The 75th Anniversary of FDR’s Order to Intern Japanese-Americans Is Frighteningly Timely,” History News Network, Feb. 17, 2017. http://historynewsnetwork.org/article/165230. Conference and Book Reviews (commissioned) “Nitrate Did Wait: A Report on the First Nitrate Picture Show,” Journal of Film Preservation, no. 93 (October 2015), 47-50. Arthur Nolletti, Jr. The Cinema of Gosho Heinosuke: Laughter through Tears. Bloomington: Indiana University Press, 2005. Film Quarterly vol. 61 n. 3 (Spring 2008), 80-81. IV-V International Conferences on Film Studies, Università degli Studi di Udine, IRIS no. 26 (Autumn
Load more

Recommended publications
  • Japanese Film and Television Aaron Gerow
    Yale University From the SelectedWorks of Aaron Gerow 2011 Japanese Film and Television Aaron Gerow Available at: https://works.bepress.com/aarongerow/42/ I J Routledge Handbook of Japanese Culture _andSociety "Few books offer such a broad and kaleidoscopic view of the complex and contested society that is contemporary Japan. Students and professionals alike may use this as a stand-alone reference text, or as an invitation to explore the increasingly diverse range of Japan-related titles offered by Routledge." Joy Hendry, Professor of Social Anthropology and Director of the Europe Japan Research Centre at Oxford Brookes University, UK Edited by Victoria Lyon Bestor and "This is the first reference work you should pick up if you want an introduction to contemporary Japanese society and culture. Eminent specialists skillfully pinpoint key developments Theodore C. Bestor, and explain the complex issues that have faced Japan and the Japanese since the end of World with Akiko Yamagata War II." Elise K. Tipton, Honorary Associate Professor of Japanese Studies in the School of Languages and Cultures at the University of Sydney, Australia I I~~?ia~:!!~~:up LONDON AND NEW YORK William H. Coaldrake I , I Further reading ,I Buntrock, Dana 2001 Japanese Architectureas a CollaborativeProcess: Opportunities in a Flexible Construction Culture. London: Spon Press. Coaldmke, William H. 1986-87 Manufactured Housing: the New Japanese Vernacular. Japan Architect 352-54, 357. ' 17 The Japan Foundation, and Architectural Institute of Japan 1997 ContemporaryJapanese Architecture, 1985-96. Tokyo: The Japan Foundation. JSCA 2003 Nihon kenchiku koz6 gijutsu kyokai (ed.), Nihon no kozo gijutsu o kaeta kenchikuhyakusen, Tokyo: Japanese film and television Shokokusha.
    [Show full text]
  • Western Literature in Japanese Film (1910-1938) Alex Pinar
    ADVERTIMENT. Lʼaccés als continguts dʼaquesta tesi doctoral i la seva utilització ha de respectar els drets de la persona autora. Pot ser utilitzada per a consulta o estudi personal, així com en activitats o materials dʼinvestigació i docència en els termes establerts a lʼart. 32 del Text Refós de la Llei de Propietat Intel·lectual (RDL 1/1996). Per altres utilitzacions es requereix lʼautorització prèvia i expressa de la persona autora. En qualsevol cas, en la utilització dels seus continguts caldrà indicar de forma clara el nom i cognoms de la persona autora i el títol de la tesi doctoral. No sʼautoritza la seva reproducció o altres formes dʼexplotació efectuades amb finalitats de lucre ni la seva comunicació pública des dʼun lloc aliè al servei TDX. Tampoc sʼautoritza la presentació del seu contingut en una finestra o marc aliè a TDX (framing). Aquesta reserva de drets afecta tant als continguts de la tesi com als seus resums i índexs. ADVERTENCIA. El acceso a los contenidos de esta tesis doctoral y su utilización debe respetar los derechos de la persona autora. Puede ser utilizada para consulta o estudio personal, así como en actividades o materiales de investigación y docencia en los términos establecidos en el art. 32 del Texto Refundido de la Ley de Propiedad Intelectual (RDL 1/1996). Para otros usos se requiere la autorización previa y expresa de la persona autora. En cualquier caso, en la utilización de sus contenidos se deberá indicar de forma clara el nombre y apellidos de la persona autora y el título de la tesis doctoral.
    [Show full text]
  • Japanese Cinema’S Logic], Tokyo: SanIchi Shobo¯
    14 DARK VISIONS OF JAPANESE FILM NOIR Suzuki Seijun’s Branded to Kill (1967) Daisuke Miyao I think that motion pictures should create events by themselves . They should not restrict themselves to merely recreating what has actually happened . Once such events created on the screen occur in reality, motion pictures begin to have a relationship with the society for the first time. (Suzuki Seijun quoted in Ueno 1991: 114) Suzuki Seijun’s 1967 film Branded to Kill (Koroshi no rakuin – hereafter Branded) – the story of a contract killer being dismissed by a gangster organization – created a controversial real life incident when Nikkatsu, one of Japan’s oldest film studios, dismissed Suzuki, then one if its contract directors, ten months after its release. On April 25, 1968, Suzuki was directing the television series Aisai-kun konbanwa: aru ketto¯ [Good Evening, Mr Devoted Husband: A Duel]. He received a telephone call from the secretary of Hori Kyu¯saku, the president of Nikkatsu, and was told that the studio would not pay his salary for April. Just like that, Suzuki Seijun was fired from Nikkatsu. To be sure, Branded had not been a financial and critical success. The film journal Kinema Junpo¯ reported that the release of Branded on a double feature with A Bug That Eats Flowers (Hana wo ku¯ mushi, Nishimura Sho¯goro¯, 1967) ‘resulted in less than 2,000 viewers at Asakusa and Shinjuku and about 500 in Yu¯rakucho¯ on the second day’ (quoted in Ueno 1986: 336). Indeed, Yamatoya Atsushi (1994: 38), one of Branded’s screenwriters, recalls that the Nikkatsu theater in Shinjuku where the film was originally screened was more or less empty on its opening day.
    [Show full text]
  • Kunigami Diss Final2
    OF CLOUDS AND BODIES: FILM AND THE DISLOCATION OF VISION IN BRAZILIAN AND JAPANESE INTERWAR AVANT-GARDES A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by André Keiji Kunigami August, 2018 © 2018 André Keiji Kunigami OF CLOUDS AND BODIES: FILM AND THE DISLOCATION OF VISION IN BRAZILIAN AND JAPANESE INTERWAR AVANT-GARDES André Keiji Kunigami, Ph. D. Cornell University 2018 Of Clouds and Bodies: Film and the Dislocation of Vision in Brazilian and Japanese Interwar Avant-gardes examines the political impact of film in conceptualizations of the body, vision, and movement in the 1920s and 1930s avant-gardes of Brazil and Japan. Through photographs, films, and different textual genres—travel diary, screenplay, theoretical essay, movie criticism, novel—I investigate the similar political role played by film in these “non-Western” avant-gardes in their relation to the idea of modernity, usually equivalent to that of the “West.” I explore racial, political, and historical entanglements that emerge when debates on aesthetic form encounters the filmic medium, theorized and experienced by the so-called “non-Western” spectator. Through avant-garde films such as Mário Peixoto’s Limite (1930), and Kinugasa Teinosuke’s A Page of Madness (1926); the theorizations of Octávio de Faria and Tanizaki Jun’ichirō; and the photographs and writings by Mário de Andrade and Murayama Tomoyoshi, this dissertation follows the clash between the desire for a universal and disembodied vision, and the encounter with filmic perception. I argue that the filmic apparatus, as a technology and a commodity, emphasizes an embodied and localized experience of vision and time that revealed the discourse on cultural-historical iii difference—the distinction between West and Rest, or modern and non-modern—as a suppressive modulator of material power dynamics embedded in racial, class, and gender hierarchies enjoyed by the cosmopolitan elite in the “peripheral” spaces.
    [Show full text]
  • Main Screen: 1100 Seats (To Run Only 35Mm Film Prints)
    Location: Chandan Cinema, Juhu Main Screen: 1100 Seats (to run only 35mm film prints) Show Time 1st Show 2nd Show 3rd Show 4th Show 5th Show Date/Day 10.00 am 12.30 Noon 3.30 pm 5.30 pm 8.00 pm 21-10-.2010 No shows No shows No shows At: 7.00 p.m. Opening Function followed by the Inaugural Film Thursday THE SOCIAL NETWORK Dir.: David Fincher (USA / 2010 /35mm / Col. / 120’) 22-10-2010 10:30 am Inauguration of To start show by 1:30 p.m. POETRY ON THE PATH (NA PUTU) UNITED RED ARMY Friday Japanese Cinema followed by SUBMARINO Dir.: Lee Chang-dong Dir.: Jasmila Zbanic (Bosnia and Dir.: Kôji Wakamatsu ABOUT HER BROTHER (OTÔTO) Dir.: Thomas Vinterberg (South Korea / 2010 / 35mm / Col. / 139’) Herzegovina-Austria-Germany- (Japan / 2007 / 35mm / Col. / 190') Dir.: Yôji Yamada (Denmark-Sweden / 2010 / 35mm / Col. / Croatia / 2010 / 100’) (Japan / 2010 / 35mm / 35mm / 105') 126’) WC WC WC CJC CJC 23-10-2010 HOLD ME TIGHT (HOLD OM UNDERTOW (CONTRACORRIENTE) HONEY (BAL) R SANDCASTLE Saturday MIG) Dir.: Javier Fuentes-León Dir.: Semih Kaplanoglu Dir.: Michael Noer & Tobias Lindholm Dir.: Boo Junfeng Dir.: Kaspar Munk (Peru-Colombia/ 2009 / 35mm / Col. / (Turkey-Germany / 2010 / 35mm / Col. / 103') (Denmark / 2010 / 35mm / Col. / 90’) (Singapore / 2010 / 35mm / Col. / 92') (Denmark / 2010 / 35mm / Col. / 80') 100’) ATC WC WC IC-Presentation IC-Presentation 24-10-2010 ON TOUR (TOURNÉE) BUNRAKU MUNDANE HISTORY OUTRAGE CATERPILLAR Sunday Dir.: Mathieu Amalric Dir.: Guy Moshe Dir.: Anocha Suwichakornpong Dir.: Takeshi Kitano Dir.: Kôji Wakamatsu (France / 2010 / 35mm / Col.
    [Show full text]
  • Japanese Art Cinema: an Sample Study
    Japanese Art Cinema: An Sample Study Date/Location of Sample Study: 21st June 2012, The Hostry, Norwich Cathedral, Third Thursday Lecture Series, Sainsbury Institute for the Study of Japanese Arts and Cultures Dr Rayna Denison with Dr Woojeong Joo What is Japanese cinema? Who does it belong to – the people of Japan, or a global audience? Outside of Japan, what does Japanese cinema mean to people? The rather muddled understanding of Japanese cinema, as popular cinema or art cinema still matters, because the representational stakes are high: which films travel to where is important because films often become enmeshed in wider discussions about ‘ideology’ and ‘culture.’ In academia, publishers and scholars have tended to focus on films that are internationally available, which therefore means that only certain films get ‘speak’ the Japanese nation, while others remain invisible to international audiences. Given that our earliest international understandings of ‘Japanese cinema’ came through film festivals and were consequently driven by notions of ‘art cinema,’ it is worth exploring an audience’s understandings of internationally distributed Japanese cinema today against this ‘traditional’ sense of an international Japanese film culture. By focusing on Japanese ‘art cinema’ for this study, we want to unpack a little of what this term means beyond academia (particularly given how infrequently academics engage with this category overtly); to seek out some of the meanings of contemporary Japanese cinema by asking people what they think counts within the category of ‘Japanese art cinema.’ We want to revisit the slippery category of ‘art cinema’ through an exploratory qualitative analysis of a UK sample audience’s responses to a simple question: How would you define ‘Japanese art cinema’? To help clarify the definitions provided, the sample group was also asked to provide exemplar film texts.
    [Show full text]
  • Cosmopolitanism, Remediation and the Ghost World of Bollywood
    COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD DAVID NOVAK CUniversity ofA California, Santa Barbara Over the past two decades, there has been unprecedented interest in Asian popular media in the United States. Regionally identified productions such as Japanese anime, Hong Kong action movies, and Bollywood film have developed substantial nondiasporic fan bases in North America and Europe. This transnational consumption has passed largely under the radar of culturalist interpretations, to be described as an ephemeral by-product of media circulation and its eclectic overproduction of images and signifiers. But culture is produced anew in these “foreign takes” on popular media, in which acts of cultural borrowing channel emergent forms of cosmopolitan subjectivity. Bollywood’s global circulations have been especially complex and surprising in reaching beyond South Asian diasporas to connect with audiences throughout the world. But unlike markets in Africa, Eastern Europe, and Southeast Asia, the growing North American reception of Bollywood is not necessarily based on the films themselves but on excerpts from classic Bollywood films, especially song-and- dance sequences. The music is redistributed on Western-produced compilations andsampledonDJremixCDssuchasBollywood Beats, Bollywood Breaks, and Bollywood Funk; costumes and choreography are parodied on mainstream television programs; “Bollywood dancing” is all over YouTube and classes are offered both in India and the United States.1 In this essay, I trace the circulation of Jaan Pehechaan Ho, a song-and-dance sequence from the 1965 Raja Nawathe film Gumnaam that has been widely recircu- lated in an “alternative” nondiasporic reception in the United States. I begin with CULTURAL ANTHROPOLOGY, Vol. 25, Issue 1, pp.
    [Show full text]
  • UX and Agile: a Bollywood Blockbuster Masala
    UX and Agile: A Bollywood blockbuster masala Pradeep Joseph UXD Manager Juniper Networks Bangalore What is Bollywood? Wikipedia says: The name "Bollywood" is derived from Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. However, unlike Hollywood, Bollywood does not exist as a physical place. Bollywood films are mostly musicals, and are expected to contain catchy music in the form of song-and-dance numbers woven into the script. Indian audiences expect full value for their money. Songs and dances, love triangles, comedy and dare-devil thrills are all mixed up in a three-hour- long extravaganza with an intermission. Such movies are called masala films, after the Hindi word for a spice mixture. Like masalas, these movies are a mixture of many things such as action, comedy, romance and so on. Melodrama and romance are common ingredients to Bollywood films. They frequently employ formulaic ingredients such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, conniving villains, courtesans with hearts of gold, long-lost relatives and siblings separated by fate, dramatic reversals of fortune, and convenient coincidences. What has UX and Agile got to do with Bollywood? As a Designer I faced tremendous challenges while moving into an Agile environment. While drowning the sorrows with designers from other organizations I came to realize that they too face similar challenges. This inspired me to explore further into what makes designers sad, what makes them suck and what are the ways in which they can contribute more in an Agile environment.
    [Show full text]
  • 100 Ans De Cinéma Japonais Cinéma Ans De 100 Programmation
    100 ANS DE CINÉMA JAPONAIS CINÉMA ANS DE 100 PROGRAMMATION 100 ANS DE CINÉMA JAPONAIS (2E PARTIE) UNE HISTOIRE INSOLITE DU CINÉMA JAPONAIS RÉTROSPECTIVE 23 JANVIER – 17 FÉVRIER Dans le cadre de Japonismes 2018 Avec le soutien de l’Alliance Renault-Nissan-Mitsubishi Pistol Opera 79 Matango PERLES RARES DU JAPON Une histoire insolite du cinéma japonais, suite… Plus d’une trentaine de titres rares de l’immense production nippone (du cinéma de studio aux productions indépendantes), de la fin des années 1940 jusqu’aux années 2000. L’évènement « Japonismes 2018 », non content de marquer d’une pierre blanche plus de 100 ans de cinéma japonais, à sa manière mettra aussi à l’honneur un siècle de cinéphilie française ; depuis les années 1910, quand Louis Delluc ne cachait pas son émotion devant la modernité du jeu de Sessue Hayakawa dans le Forfaiture de Cecil B. DeMille, la production du Soleil levant est devenue le fantasme inta- rissable d’un certain public qui, déjà au XIXe siècle, s’extasiait devant le nouveau vocabulaire plastique que proposaient les estampes orientales. PETITE HISTOIRE D’UNE PERCEPTION FRANÇAISE Il a fallu attendre les années 1920 pour que cette production commence à s’expor- ter épisodiquement. Si l’on excepte quelques pantomimes filmées anonymement, c’est pour la première fois en mars 1926 qu’est présenté au public un film japo- nais dans le mythique Studio des Ursulines, vieux théâtre de quartier reconverti depuis peu en salle d’art et d’essai. Musume (Ai no Himitsu) de Frank Tokunaga fut donc projeté entre un court métrage de René Clair et un autre de Louis Feuillade lors d’une de ces matinées réservées aux membres.
    [Show full text]
  • The Japan Foundation Newsletter Vol
    THE JAPAN FOUNDATION NEWSLETTER VOL. XXVIII/NO. 1 AUGUST 2000 On Other Pages Sound Japan Cultural Highlights From the Japanese Press (January 1–May 31, 2000) 8 Christopher Yohmei Blasdel Research Reports Depiction of the Family in Con- temporary Japanese Cinema 9 Masao Maruyama 12 Reclaiming Cultural Identity, Re- everal people sit in a simple tatami-matted room, enjoying the deliberate move- jecting Deviance, and “Doing ments of the tea ceremony. All is silent except for the susurrant rattle of the Homelessness” in Ueno Park 15 teapot’s iron lid as steam rushes out. This murmur is punctuated by the soft Book Reviews 18 S whisks of the bamboo stirring brush. Foundation Activities A shishiodoshi bamboo ladle, set along the stream in a traditional Japanese garden, Exhibition of Children’s Pic- ture Book Illustrations from slowly fills with water. As critical mass is achieved, the liquid is dropped. The base of Korea 20 the ladle hits a stone on the rebound, sending a report throughout the garden. In another part of the garden, a suikinkutsu jar, partially filled with water, is buried just below ground level. As water slowly drops into the jar from above, sonorous plops The Japan Foundation Newsletter is distrib- escape into the garden, audible only to those who wait, patiently, near the jar’s opening. uted free of charge to individuals and organizations interested in Japanese Cicada hum in unison from the luxuriant growth of summer. Later, as evening cools Studies and international cultural ex- to night, the shrill sounds of their higurashi cousins reverberate back and forth, as they change.
    [Show full text]
  • Think Film! on Current Practices and Challenges in Film Culture: a Documentation of a Student Symposium 2020
    Repositorium für die Medienwissenschaft Adriane Meusch, Bianka-Isabell Scharmann u.a. (Hg.) Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium 2020 https://doi.org/10.25969/mediarep/13589 Veröffentlichungsversion / published version Konferenzbeitrag / conference object Empfohlene Zitierung / Suggested Citation: Meusch, Adriane; Scharmann, Bianka-Isabell (Hg.): Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium. Frankfurt am Main: Zenodo 2020. DOI: https://doi.org/10.25969/mediarep/13589. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5281/zenodo.3662799 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung 4.0/ Lizenz zur Verfügung gestellt. Nähere Attribution 4.0/ License. For more information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by/4.0/ http://creativecommons.org/licenses/by/4.0/ THINK THINK FILM! Edited by Adriane MeuschandBianka- Adriane Edited by Isabell Scharmann On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Edited by Adriane Meusch & Bianka- Isabell Scharmann Frankfurt am Main, 2020 Editors Adriane Meusch and Bianka-Isabell Scharmann, in collaboration with Michelle Rafaela Kamolz https://thinkfilmsymposium.wordpress.com Copy Editor Carly Crane Graphic Design Muriel Serf (mmm.do) Bibliographic information of the German Library The German Library catalogues this publication in the German National Bibliography; detailed bibliographic information can be found on the Internet website: http://dnb.d-nb.de.
    [Show full text]
  • Masaki Kobayashi: HARAKIRI (1962, 133M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    October 8, 2019 (XXXIX: 7) Masaki Kobayashi: HARAKIRI (1962, 133m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Masaki Kobayashi WRITING Shinobu Hashimoto wrote the screenplay from a novel by Yasuhiko Takiguchi. PRODUCER Tatsuo Hosoya MUSIC Tôru Takemitsu CINEMATOGRAPHY Yoshio Miyajima EDITING Hisashi Sagara The film was the winter of the Jury Special Prize and nominated for the Palm d’Or at the 1963 Cannes Film Festival. CAST Tatsuya Nakadai...Tsugumo Hanshirō (1979), Tokyo Trial* (Documentary) (1983), and Rentarō Mikuni...Saitō Kageyu Shokutaku no nai ie* (1985). He also wrote the screenplays Akira Ishihama...Chijiiwa Motome for A Broken Drum (1949) and The Yotsuda Phantom Shima Iwashita...Tsugumo Miho (1949). Tetsurō Tamba...Omodaka Hikokuro *Also wrote Ichiro Nakatani...Yazaki Hayato Masao Mishima...Inaba Tango SHINOBU HASHIMOTO (b. April 18, 1918 in Hyogo Kei Satō...Fukushima Masakatsu Prefecture, Japan—d. July 19, 2018 (age 100) in Tokyo, Yoshio Inaba...Chijiiwa Jinai Japan) was a Japanese screenwriter (71 credits). A frequent Yoshiro Aoki...Kawabe Umenosuke collaborator of Akira Kurosawa, he wrote the scripts for such internationally acclaimed films as Rashomon (1950) MASAKI KOBAYASHI (b. February 14, 1916 in and Seven Samurai (1954). These are some of the other Hokkaido, Japan—d. October 4, 1996 (age 80) in Tokyo, films he wrote for: Ikiru (1952),
    [Show full text]