Transdisciplinary Workshop on Planetary Love 1st Meeting – Weird Realism

Transdisciplinary Workshop on Planetary Love 1st Meeting – Weird Realism
July 10th, 2015, 6:00 PM – 8:00 PM
The University of Tokyo, Komaba Campus, bldg. 18, Collaboration Room#4

Mayumo Inoue (Hitotsubashi University), Anne McKnight (Shirayuri College), Lindsay Nelson (The University of Tokyo), Christophe Thouny (The University of Tokyo), Toshiya Ueno (Wakō University), Mitsuhiro Yoshimoto (Waseda University)

How can we believe in this world, in life, in a planetary love?

The anthropocene has taken centre-stage in discussions of the human, at a time when living in a state of crisis has become  the definition of our everyday, a condition of survival that drives the call for austerity, sustainability, and finitude. Politics has become necropolitics and it is now increasingly difficult to believe in this world and to practice an ethics that can be defined by an affirmative love. Love, like sex, is only timidly present in discussions of the anthropocene, barely emerging between so-called serious topics placed under the banner of danger, risk and the state. Against this logic of precarity and containment, we decided to embrace planetary love as an affirmative and critical practice of the world, experimenting on other possibilities of alliance across our realms of experience.

This question of Planetary Love emerged out of a series of workshops organized by Christophe Thouny, Ueno Toshiya and Mitsuhiro Yoshimoto in 2013 on the issue of Fukushima Japan. The main objective was then to find a way to address this tragic issue from local places of experience while avoiding closure inside a national, regional, or academic territory. In short, we tried to think local experiences as planetary experiences, and problematized Fukushima Japan in terms of a planetary love, asking ourselves, ‘how can I love my radioactive tuna?’

In this new series, we will expand discussions outside of Japan and Asia, to address recent debates in environmentalism, posthumanism, media ecologies, feminism and social design in terms of planetary reparative practices. The planetary is a space of transition and transit, a space in excess of any logic of survival and finitude that cannot be owned. Dwelling in the planetary is then a question of attachment. It calls for what Lauren Berlant calls “a shift in attachment style”, starting from our everyday local situations and discursive practices. We thus understand Planetary Love as a reparative fantasy in which it becomes possible to imagine and practice another space of the common.

The aim of this series is then to generate an open space of interactions building up toward a larger conference and a possible publication. While Planetary Love will be the main frame of discussion, each workshop will focus on a specific topic to be decided together each time. Each workshop will consist of two formal presentations of around 20 minutes, followed by a free discussion in English or Japanese with the audience. The workshops are open to anybody interested, and while discussions will follow an academic format, we will also ask the participation of artists interested in the topic.

The first workshop will be held at the University of Tokyo Komaba Campus on July 10th 2014 at 6pm in Building 9 Collaboration Room #4 with the topic of Dark Media in J-horror and literature, and drawing on recent debates in ecocriticism and media theory. Taking as a starting point Eugene Thacker’s Dark Media, ghosts of Hiroshima and Fukushima, and Kōji Shiraishi’s 2009 mockumentary/ horror movie Occult, we will discuss how planetary love can become a reparative fantasy and allow us to articulate and practice another form of realism, perhaps, a spiritual materialism. Suggested readings for the first meeting are Eugene Thacker’s In the Dust of this Planet, Toshiya Ueno new book Wolf of the Wasteland – Oshii Critique and Takuma Higashi’s Hiroshima Noir. Discussions will however focus on the presentations themselves.

We will meet every three months or so, alternatively at the University of Tokyo Komaba Campus and at Hitotsubashi University Kunitachi Campus. The tentative schedule for the 2015-16 academic year is July 10th, October 2nd, December 4th, February 5th. We are still working on the presentations themselves, and welcome anybody interested in taking an active part either as organizing member and/or presenter.

English and Japanese⎜Free Admission ⎜No Registration Required
Organized by Christophe Thouny
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XIII Gorizia International Film Studies Spring School – The FILM HERITAGE Workshop

Università degli Studi di Udine – Italy
XIII Gorizia International Film Studies Spring School. Università degli Studi di Udine

The FILM HERITAGE Workshop – 20/25 March 2015 – Gorizia, Italy

Voice / Speech / Word: Dubbing and Subtitling in Comparative Contexts

In recent years, issues concerning dubbing and subtitling have reached a certain scholarly interest mainly as a consequence for the extraordinary changes that digital practices caused to film experience. While dubbing is sometimes considered a mutilating practice, a sign of the backwardness of media literacy processes in specific contexts, and it is thus highly disregarded by film buffs, archivists, students and scholars, subtitling seems to be, maybe not less naively, the only proper way to deal with cinema: it is evident that a similar rigidity needs to be made productive by integrating historical, social, political and industrial reasons. The interactions between all these factors have been quite overlooked throughout the last years of film studies research: more specifically, from a scholarly perspective, these issues have been seldom questioned by taking into consideration a broader spectrum than the national film histories, especially those of countries such as Germany, Italy and Russia in which the practice of dubbing (or overdubbing) is dominant. Our approach is as wide as possible and it includes not only historical issues concerning censorship, but also new theoretical topics connected to research fields such as translation studies and fandom studies. For this reason, we want to devote the XXI edition of the Film Heritage workshop of the MAGIS – Gorizia International Film Studies Spring School to the issues of dubbing and subtitling from a strongly transnational and comparative perspective. In particular, a specific focus is dedicated to the relationship between dubbing/subtitling practices and market strategies, institutional issues, technology, historiography and the new media landscape.
Starting from the above considerations, we warmly encourage paper proposals that may address, but are not limited to, the following questions:

– Economical reasons and market strategies
– Institutions and infrastructures
– Industrial and Technological assessments
– Dubbing/subtitling and the multicultural semiosphere
– Historiography and cultural perception (especially regarding non-western countries and cultures)
– New practices and the digital landscape
– Censorship and manipulation
– Expertise, technique and professional formation
– Dubbing/subtitling, literacy and media-literacy
– Film/media studies and translation studies
– Perceptual issues in dubbing/subtitling practices

Scholars interested in submitting a paper proposal are asked to provide a 200 word abstract and a 100 word bio at the email before December 31, 2014.
Notification will follow shortly thereafter.

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A History of Cinema without Names – CfP

A History of Cinema without Names – Call for Proposals

University of Udine (Italy)
March 18-20, 2015

Deadline extended – December 31, 2014

The Udine International Film Studies Conference is promoting a research project called “A History of Cinema without Names” which is still opened to proposals coming from scholars who might be interested in contributing.

In several occasions the Udine Conference has focused on the problematisation of the notion of “author” and on a redefinition of the notion of “style” (separating this notion from any property related to individual poetics and from any anthropometrically conceived principle of textual construction). In this perspective, it is indeed possible to articulate modes aimed at understanding authorial poetics as the momentary unification of features that exceed them. On another level, genre as well could be simply seen as spaces in which elements of the same kind aggregate.

One of the purposes of this project is the creation of a new “topography” of the basic stylistic elements that, while common to both authors and genres, can also find indipendent and diverse mode of connection. These levels of aggregation (styles, genres, authors) are not separated; rather, they mutually intersect, integrate each other, and coexist. Outwardly, they might seem grounded on essentialist principles (like the figure of the “creative personality”; or the morphologies of discourse, e.g. comic, crime, melodrama, etc.). Instead, they are “systems” whose physiognomy is shaped by the relationships that occur at a given moment between their constitutive units. Of course, it is possible to continue to employ this customary topography based on “auteur” politics and “genres”; but we shall acknowledge that the figures we shape are ephemeral and ostensible, devoid of reasons or of really decisive connections.

The status of contemporary mediascape, dominated by serialisation and “formats”, should encourage such research trend. Instead, we are witnessing a curious paradox: the more audiovisual narratives exceed traditional notions of style and auteur politics, the more we stick to these categories (for instance, trying to apply them to screenwriters, producers, or even “formats”), as if they were principles guaranteeing to safe us from chaos and the unknown.

On this ground, the Udine Conference launches the project of a history of cinema without names, in the same vein as Wöllflin and Valéry imagined respectively a history of art and of literature without names.

The first step of such research project, which will continue with several events and meetings, will be hosted by the University of Udine on March 18-20, 2015. The event has been thought not as a canonical conference, in which every scholar presents the results of his or her research activity, but as a laboratory where methodological aspects of the project will be discussed in length. For this reason, we warmly encourage proposals aimed at fostering debates and further elaborations by starting from the question of how a history of cinema without names would be (hopefully) possible.

500-word proposals are due by December 31, 2014.
Please submit your proposal to and make sure to attach a short CV.

Leonardo Quaresima
Giuseppe Fidotta, Andrea Mariani (Organisation)

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Call for Submissions: East Asian Journal of Popular Culture

The East Asian Journal of Popular Culture (Intellect Press) is looking for submissions for its general 2:3 edition.

We encourage articles that are both localized (towards a specific popular culture tend, figure or industry) as well as articles that are more global in their outlook (forging links between East Asian popular culture and wider global issues). We look for papers that engage with current as well as emerging issues in popular culture in East Asia, cosplay culture, food culture, kawaii, manga and anime, martial arts, politics, and the complex relationships between nationalism and popular culture. We are interested in multidisciplinary papers (that all come under the sport and leisure, digital media, history, media, fashion, music, material culture and literature. Papers and works on translation studies, as well as cultural history and anthropology will be also welcomed.

We are looking for original work between 5-6000 words and to be considered for this edition we need to have papers by 31st January 2015. All papers are subject to a double blind peer review process.

For more information or


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YIDFF 3.11 Film Archive

Iniciativa del Yamagata International Documentary Film Festival

Abé Mark Nornes, impulsor de la idea, comenta lo siguiente:

Ever since 2011, the Yamagata International Documentary Film Festival has taken a strong interest in the triple disaster of 311. Aside from being in Tohoku and the recipient of radioactive fallout (despite a large volcano between Fukushima and Yamagata), the prefecture also has more 311 refugees than another other. The festival staff has also been active in screening movements for refugees and for traveling screenings in the disaster zones. So in 2011 and 2013, they staged major selections of films about the disaster. There are catalogs for these programs which are available for purchase from their website.

A few years ago, I suggested that they should start an archive of independent films about 311. The TV networks will always keep their films for all the usual reasons. But the vast majority of these independent films will disappear after a few years. It’s likely that even the more famous films will become increasingly difficult to find after a few decades, let alone few centuries.
Well, they made this a reality and held a symposium last weekend to officially open it up. Although they have counted over 200 independent documentaries on the earthquake, tsunami, and/or Fukushima, they have 56 films so far. The number will constantly grow, but it will depend on the cooperation and consent of the filmmakers (why so many have chosen not to deposit their films is beyond me).
I used the archive the day after the symposium, and the conditions are excellent. Free access, and decent booths to watch the films in. Although some of the most famous films are not in there, there are many very unusual films and in a variety of styles and from various political positions. If you know anyone interested in 311 films, this is should be their first stop.
The website is even bilingual (and many of the films have subtitles). There are provisions in their contracts to distribute some of the films for public screening, should permission be secured from the copyright holder.
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Call for Authors: The Encyclopedia of Japanese Horror Films

Japan’s film industry is not only one of the oldest, but perhaps one of the more prominent in the world of motion picture production. Among its many genres, horror films have had a real impact on global popular culture. From the eerie storylines incorporating a fascination with violence and death like Suicide Circle and Ichi the Killer, to the science fiction terrors of Godzilla and Testuo, horror plays a major role among Japanese film genres. While some of these films are rather poor productions, others have been major hits in Japan and have, like the Ringu movies, influenced other horror productions in both Asia and United States.

This volume will be a comprehensive reference text for academics and general audiences alike. In addition to covering virtually every horror film made in Japan from the past century to date, this text will also include entries for notable directors, producers, actresses and actors. Although emphasizing horror as a general theme, this encyclopedia will also include other genres that are associated with this theme, inclusive of Japanese Comedy Horror, Science Fiction Horror, Hyper-violence, Japanese Cyber-punk Horror, Ero Guru (Erotic Grotesque), Tokusatsu Horror (live-action special effects) and Anime Horror.”

I have successfully negotiated a contract for this encyclopedia editorship with Rowman and Littlefield and I am now seeking authors.

For those of you that aren’t familiar with these kind of essays, here’s how it typically works:

You choose a couple of entries (or as many as you would like) and compose an encyclopedic piece on the film. Three things that are fundamental to executing these essays are: (1) covering all of the journalistic questions (who, what, where, why, how, etc.); (2) meet the word count–or as close to it as possible; and (3) meet the deadline, which will be 20 January 2015. After that, it’s up to me to do the editing and send it to press.

If you are interested, please send me an email and I’ll forward you the tentative list that I’ve been working with (there are still around 150 unclaimed entries).

Salvador Jimenez Murguía, Ph.D.
Associate Professor of Sociology
Akita International University
Yuwa, Akita-city 010-1292 Japan

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Tokyo University MOOC: “Visualizing Postwar Tokyo, Part 1 & 2″

The courses, “Visualizing Postwar Tokyo, Part 1 & 2″ will be released on edX, a massive open online course (MOOC) platform where the University of Tokyo recently joined.

Visualizing Postwar Tokyo Course Websites:

These courses are in the series, Visualizing Japan, and will be offered immediately after the first course in the series, Visualizing Japan (1850s – 1930s): Westernization, Protest, Modernity, by Professors John W. Dower (MIT) and Andrew Gordon (Harvard U).

In the “Visualizing Postwar Tokyo, Part 1 and 2″ which last 8 weeks in total, I tried to show many documentary films and other insightful/exciting visual materials for visualizing the historical events and places in Tokyo. Many of them are not available outside Japan, and  I believe these courses are useful for teaching and understanding contemporary Japan and Tokyo.

I would really appreciate it if you could circulate the course information and recommend people around you to register in these courses.
They are free of charge.

Thank you very much for your help in advance.

Details are as follows:

★★★ Visualizing Postwar Tokyo, Part 1 ★★★
by Shunya Yoshimi, University of Tokyo

【Starts November 4, 2014】

Analyzes the history of change and development in postwar Tokyo from different perspectives using archived photographs, films, and TV programs.
The modules include, for Part 1:

1. Occupation and Americanism;
2. Imperial Gaze and Royal Wedding;
3. The Olympic City;
4. Economic-cultural Clash in Shinjuku.

★★★ Visualizing Postwar Tokyo, Part 2 ★★★
by Shunya Yoshimi, University of Tokyo

【Starts January 6, 2015】

Presents the city as a place of visualities. In postwar Tokyo, countless gazes fell upon others: gazes from and upon Americans and the Emperor, gazes going up skyscrapers or rushing aggressively through the cityscape, and gazes twining among classes, genders, and ethnic groups in downtown Tokyo.
The modules include, for Part 2:

5. Technologies for Visualizing;
6. The Poor and the Margins of Urban Society;
7. University Students and Knowledge Industry;
8. Postwar Tokyo and the Limits of Visualization.

★★★ Visualizing Japan (1850s-1930s): Westernization, Protest, Modernity ★★★

by John Dower, Andrew Gordon, Shigeru Miyagawa, Gennifer Weisenfeld

【Starts September 3, 2014】

A first-time MITx/HarvardX collaboration, VJx opens windows on Japan’s transition into the modern world through the historical visual record. The modules cover:

Use of visual records as primary sources for the study of history; Black Ships & Samurai — Commodore Matthew Perry’s 1853-54 expedition to force Japan to open its doors to the outside world;

Social Protest in Imperial Japan: The Hibiya Riot of 1905. The first major social protest in the age of “imperial democracy” in Japan.

Modernity in Interwar Japan: Shiseido & Consumer Culture.
Exploring the vast archives of the Shiseido cosmetics company opens a fascinating window on the emergence of consumer culture, modern roles for women, andglobal cosmopolitanism.

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