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Calligraphy in East Asian Cinema

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Calligraphy in East Asian Cinema Brushed in Light Brushed in Light Calligraphy in East Asian Cinema Markus Nornes University of Michigan Press Ann Arbor Copyright © 2021 by Markus Nornes All rights reserved Tis work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Note to users: A Creative Commons license is only valid when it is applied by the person or entity that holds rights to the licensed work. Works may contain components (e.g., photographs, illustrations, or quotations) to which the rightsholder in the work cannot apply the license. It is ultimately your responsibility to independently evaluate the copyright status of any work or component part of a work you use, in light of your intended use. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/ For questions or permissions, please contact [email protected] Published in the United States of America by the University of Michigan Press Manufactured in the United States of America Printed on acid-free paper First published February 2021 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication data has been applied for. DOI: https://doi.org/10.3998/mpub.11373292 ISBN: 978-0-472-13255-3 (hardcover : alk. paper) ISBN: 978-0-472-90243-9 (OA e-book) Frontispiece calligraphy of the author’s name by Nishigaito Koshun. Cover calligraphy by Torii Haru, with 35mm flmstrip from the author’s collection. Chapter number calligraphy by various ancient masters, mostly from stele rubbings. End credit title on page 145 from Mizoguchi Kenji’s Downfall of Osen (Orizuru Osen, 1935). Tis book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the University of Michigan, TOME initiative. Learn more at the TOME website, available at: openmonographs.org Tis work was supported by the Core University Program for Korean Studies through the Ministry of Education of the Republic of Korea and Korean Studies Promotion Service of the Academy of Korean Studies (AKS-2016-OLU-2240001). For t d Acknowledgments As I explain in my introduction, I frst imagined this book designers at the Association of Production Designers of as a dissertation. However, it was not until about ten Japan ofce. Art designers Imai Takashi, Nitta Takayuki years ago that I actually embarked on the project. I never and Ando Atsushi were particularly helpful, especially for imagined that it would be such a rich experience. I really guiding me through studio props departments in Japan. shouldn’t have waited so long. I have been humbled by the In Taiwan, I was able to conduct research through the hospitality of all the scholars, calligraphers, art directors, support of the 2011 Faculty Research Grant for Taiwan and flmmakers I met across East Asia. It has been one Studies, conducted by Education Division, Taipei Eco- exciting encounter after another. nomic & Cultural Ofce in Chicago. On the ground, I was My frst stop was Japan where, thanks to an introduc- particularly indebted to Wood Lin, Frances Huang, and Lin tion from director Hara Kazuo, I met the great Akamatsu Wen-chi for helping me to set up the trip. I had inspiring Hikozo and came away with the confdence that this book meetings with calligraphers Chen Shih-hsien, Chao Yu- was actually possible. Over the years, I met some inspiring hsiu and especially Tong Yang-tze. Many people shared calligraphers in Japan, especially Nishigaito Koshun (who their precious time, including Yu Kuo-ching (National brushed my name in her distinctive style for this book’s Palace Museum), Liao Hsien-hao Sebastian, Chung Kuo- colophon), Yabe Chosho, Iida Reigiku, Itomi Keinan, hua, Lee Yu-hwa (Fisfsa Media), Ru-Shou Robert Chen, Sisyu, and Takeda Soun. I enjoyed long conversations with Edmond Wong Kin-yip, Fu Syou-ling, Lee Yu-Hwa, Vivian flmmakers Adachi Masao, Matsumoto Toshio, Yoshida Tsu-i Chiang, Rose Kuo-chen Chen, Wang Paizhang, and Kiju, Iimura Takahiko, in addition to scholars like Okada especially Angelika Wong. Meeting Hou Hsiao-hsien was a Mariko, Yoshimi Shunya, Akiyama Tamako, Ueno Toshiya, goal in life I can now take of the list. As you will discover Sakamoto Hirofumi, Nakajima Seio, Yomota Inuhiko— in chapter 5, he was both delightfully frank and unhelpful; also actress Okada Mariko, benshi Kataoka Ichiro, Oyama this was the moment I discovered that directors are actu- Yuki, Sasatake Yoshiyuki, Takahashi Ken at Toei, Wachi ally less interesting to talk to than art directors when it Yukiko from Kawakita Memorial Film Institute, and comes to calligraphy. fnally Okada Hidenori and Kamiya Makiko (National Korea was an eye-opening experience in so many ways. Film Archive of Japan). I especially want to thank Koi- I would like to start with thanks to my interpreters Han- zumi Hiroyasu for organizing a gathering of veteran art sang Kim and Shinae Chu. Tey helped me talk to Park vii Sun-Young, Choi Ji-Woong (Propaganda), Gim Hogil and it saddens me that he cannot take this book into hand; he Yi Ye-Ho, Kim Tae-Uk (Namyangju Film Studio Props was an enthusiastic supporter and great interlocutor and Department), Park Si-Young (Bitnanun), Kang Byung-in, gifted me many wonderful experiences and memories. Kim Hye-jin (Kkotsbom), and Sue Kim. I was also helped In Shanghai, I had the invaluable guidance of Zhang by Henry Em, Jung Hyunchang (KOFIC), Kim Soon-mo, Shujuan, who performed archive dives and networked for Chung Chonghwa (KOFA), Kim Soyoung, Kim Ki-duk, Kim me while I was a visitor at Fudan University. Tis was upon Dongwon, Byung Youngjoo and Lee Myungse. the invitation of Lu Xinyu, two months that had an enor- In the United States and Europe, I benefted from the mous impact on the project. On this trip, my encounters wisdom of Mark Cousins, Chris Berry, Yasuko Tsuchikane, with Xiong Qi, Yang Ji, Riverstone and especially Xu Pen- Xu Bing, D. N. Rodowick, Stanley Cavell, Alexander gle of Shanghai Film Corporation felt fateful. Zahlten, Aaron Gerow, and Tom Lamarre (who knew what And in Beijing, I am grateful for the support of Wang I was up to from the get go and that gave me great con- Hongwei, Qin Zhenzhong, Li Gantian, Zhao Liang, Wang fdence). At the University of Michigan, many colleagues Wo, Cong Feng, Wang Haizhou, Jin Haina, and the callig- served as interlocutors and helped me in myriad ways, raphers of the China Central Newsreel and Documentary especially Natsu Oyobe, Youngju Ryu, Kevin Carr, Micah Film Studio. I want to highlight my encounters with Li Auerbach, Sangjoon Lee, Reginald Jackson, Donald Lopez Xianting. As the following text will demonstrate, he had Jr., Ben Bross, Martin Powers, Shuen-fu Lin, Erin Bright- an enormous infuence on my thinking about calligraphy. well, Xiaobing Tang, David Rolston, Johannes von Moltke, When I look over these pages of names, I am truly and Giorgio Bertellini. Many students helped me with my humbled by everyone’s support. My only Asian language research, including Yuki Nakayama, Michael Arnold, Irhe is Japanese, so this book would have been truly impossible Sohn, Sanako Fujioka, Emily Ho, Jini Kim, Wang Gerui, without everyone’s help and advice. More than that, they Haely Chang, Vesal Stoakley, Jihun Suk, and Juyeon Lee. all enriched my life in ways I never would have anticipated. My editor at University of Michigan Press, Christopher Tis book is dedicated to Tony Demko, whose place in Dreyer, has been incredibly supportive. And at the Centers Nakano-Fujimicho was my homey base camp. His friend- I could always count on Ena Schlorf, Yuri Fukazawa, and ship has been a bright light in my life. Tis project owes so Do-hee Morsman for everything and anything that came much to his support. up; they are incredible. Finally, I am endlessly grateful for the Institut française Hong Kong was, as always, an enervating and inspir- du Japon—Tokyo. I wrote the frst draft of this book in ing place. I was immeasurably helped by Elvis Mok, Justin their media center (great chairs!) and in their cafe (deli- Ng, Cyrus Ho Kim Hung, Wallace Chan Chi Ieong, Man Kit cious cofee and pastries!). It was fun to write in a beautiful Wah Eva, Shu Kei, Johnson Chang (Chang Tsong-zung) building designed by a Corbusier disciple, regularly bump- and Valerie C. Doran of Hanart TZ Gallery, Emily SY Choi, ing into friends on their way to catch a flm. Law Kar, Emily Yeh Yueh-yu, and Darrell Davis. I am always Tis work was supported by the Core University Program impressed by the archive in Hong Kong and the folks for Korean Studies through the Ministry of Education of the there—particularly Winnie Wy Fu, May Kwan Yuk Ng, and Republic of Korea and Korean Studies Promotion Service of Angel On Ki Shing—helped me fgure out who I should the Academy of Korean Studies (AKS-2016-OLU-2240001). I meet. Tit Leung Cheung helped me in so many ways, and also beneftted from a summer visiting professorship at Fudan viii acknowledgements University’s State Institute for Innovations in the Studies of University of Michigan Ofce of Research, and the College of Journalism, Communication and Mediated Society. Research Literature Science and the Arts. Research in Taiwan was con- and subvention grants were provided by the University of ducted through the support of the 2011 Faculty Research Grant Michigan’s Lieberthal- Rogel Center for Chinese Studies, Cen- for Taiwan Studies, conducted by Education Division, Taipei ter for Japanese Studies, Nam Center for Korean Studies, the Economic & Cultural Ofce in Chicago.
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