Ainu. Pathwayt to Memory – Best Foreign Director Price

Ainu. Pathwayt to Memory (Ainu. Caminos a la memoria) obtains the price for the BEST DIRECTOR OF A FOREIGN FILM at the International Ethnographic Film Festival Zlatna (Romania). More information.

Press notice in Romaninan

Press notice in English 

The full length documentary also won the Audience Award at the 11th Clam Festival (Festival Internacional de Cinema Solidari de Navarcles, Barcelona).

More info (Catalan)

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Workshop: Perspectives on Oshima Nagisa

Perspectives on Oshima Nagisa

Date: June 29th, 2014, 13:00-18:00
Venue: Collaboration Room 2, Bldg. 18 (4F), The University of Tokyo Komaba Campus
Language: English | No Registration Required | Admission Free 
 
 
Abstract
 
Variously described as a leader of the new wave, a traditionalist, or a political modernist, on closer scrutiny Oshima Nagisa seems to defy all of these categories. It is striking that today, fifty-five years after his début as a director, there is only a nebulous sense of agreement about the significance of his films. Oshima is of course widely regarded as one the most important directors of his generation, but if his films have remained some of the most unusual and discussable productions of the postwar Japanese cinema, it is not only due to their daring themes and unusual approach to formal experimentation, but equally because they remain deeply ambiguous works that compel us to think beyond their limits as individual films.
 
While Oshima has been frequently characterized as a “radical iconoclast” or member of the postwar avant-garde, this interpretation has equally tended to simplify our understanding of his multifarious interests and their complex engagement with Japanese cinema, society, and history. It seems fair to say that the experience of viewing Oshima’s films prompts us not only to question the specific historical and social forms which they depict, but to similarly question the received image of Oshima himself. As we trace his career from the studio system to a quasi-independent and finally independent director, we find ourselves asking: what are the limits or possibilities of a production system, of a mode of film production? How might we think about Oshima’s relationship to Japanese cinema outside of an auteurist frame? Extant writing on his works in English has left much of this terrain under-explored, and there is today a marked discrepancy between it and a significant body of more recent criticism in Japanese. 
 
This afternoon workshop will explore some of these questions concerning Oshima, and his relationship with Japanese cinema in the 1960s and 70s. The participants will offer a broad spectrum of conceptual approaches, drawing on historical and theoretical modes of analysis. We propose to both reconsider familiar problems, and to explore new ones. We will examine, among other topics, Oshima’s significance for the culture of film retrospectives, his role in the expression of some of the key theories of ideology in film studies, his visualization of state power, his relationship with popular cinema, and his perspectives on political cinema. Through this exploration, we seek to gain a richer understanding of these singular films, of new interpretive approaches, and of some of the critical possibilities of cinema itself.
 
We invite you to join us on Sunday, June 29th, for an afternoon of presentation and lively discussion.
 
 
Program
 

13:00

Oshima Nagisa × Retrospective

Ogawa Shota (University of Rochester)

 

14:00

The Effective Presence of a New Reality: Ideology and Subjection in Oshima’s Kōshikei (1968)

Max Ward (Middlebury College)

 

15:00

Proxy Wars: Oshima/Yakuza

Phil Kaffen (New York University)

 

16:00

Oshima Nagisa on Responsibility and Premonition: Shiiku (1961) and Amakusa Shirō Tokisada (1962)

M. Downing Roberts (UTCP)

 

17:00

The Voice of the Dead: The Image of the State and Postwar Democracy in Oshima Nagisa’s The Ceremony(1971)

Misono Ryoko (University of Tsukuba)

 

 

Organizer: M. Downing Roberts, UTCP.

Supported by: The University of Tokyo Center for Philosophy (UTCP) and the Uehiro Research Division for Philosophy of Coexistence.

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Congreso internacional: Estéticas transnacionales en el cine contemporáneo (Buenos Aires)

1º Congreso Internacional de Estética del Cine

Estéticas transnacionales en el cine contemporáneo – 4, 5 y 6 de noviembre, Buenos Aires.

Actualmente, lo transnacional es una de las características fundamentales del cine. Los acuerdos de coproducción internacional imprimen marcas que problematizan la concepción tradicional de identidad nacional.

Lo transnacional puede entenderse como una categoría socio-estética y geo-política, es decir, como una herramienta conceptual, y simultáneamente como un marco teórico que nos permite abordar los diferentes cambios, las variadas problematizaciones que se libran en el campo de las producciones audiovisuales, en el actual contexto de la globalización. La expansión de límites territoriales y culturales que se proponen desde las producciones audiovisuales contemporáneas construye un universo de símbolos compartidos mundialmente por sujetos situados en lugares distantes del planeta que lleva a la construcción de una memoria colectiva mundial.

Este Primer Congreso se propone reflexionar y teorizar sobre el concepto de cine transnacional y los imaginarios de representación que conlleva, así como sobre sus posibilidades de producción y distribución, y sobre sus modalidades de circulación y recepción. El enfoque que se prioriza promueve el abordaje interdisciplinario e interdiscursivo de este fenómeno que es parte constitutiva de una importante porción de la producción cinematográfica y audiovisual actual.

Comunicaciones

Se puede participar del congreso de tres maneras:

1: Ponencias.

2: Simposios.

3: Asistentes.

Organizado por:
-Grupo Art-Kiné, Colectivo interdisciplinario de teoría y estética del cine
Universidad de Buenos Aires.
-Departamento de Lenguas y Literaturas Románicas
Universidad de Viena.

Web del evento:

http://congresodecine.org/

Para más información contactarse con:
grupoartkine@gmail.com // info@congresodecine.org

 

 

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Mostra de Cine Periférico, especial Japón (Coruña, 4 al 8 de junio)

El (S8) 5ª Mostra de Cinema Periférico tendrá lugar del 4 al 8 de junio en A Coruña. El certamen contará con diferentes espacios en el centro de la ciudad para albergar proyecciones, instalaciones, exposiciones y performances, talleres infantiles y encuentros con los cineastas invitados. La sede principal vuelve a ser, como en 2013, el edificio del Centro Sociocultural Fundación Novacaixagalicia, mientras que en el Teatro Rosalía de Castro la Mostra dará el pistoletazo de salida en la tarde del miércoles 4 de junio. El patio de la Fundación Luis Seoane será el lugar de encuentro para las noches de performance de cine expandido, una de las señas de identidad del (S8). El CGAI, colaborador del festival desde sus inicios, albergará diversos programas de este Especial Japón. Por otra parte, el Kiosco Alfonso se convierte en punto de encuentro con el público infantil y sede del Mini (S8), una de las secciones más participativas dentro de la programación del festival.

AÑO DUAL ESPAÑA – JAPÓN 2014
Para su quinta edición, el (S8) cuenta con la participación de Japón como país invitado, una de las cinematografías más sugerentes e importantes de la historia del cine. Esta Edición Especial formará parte de las actividades que se están desarrollando en nuestro país durante el 2014, dentro del Año Dual España-Japón. Esto convertirá, durante las fechas del festival a la ciudad de A Coruña, en foco principal de este evento internacional que conmemora los 400 años de relaciones entre ambos países.
En esta Edición Especial Japón el (S8) abordará el pasado, presente y futuro de la cultura cinematográfica japonesa, desarrollando un amplio programa que va desde sus orígenes a nuestros días, haciendo especial hincapié en las vanguardias, las nuevas expresiones y los jóvenes cineastas japoneses que estarán presentes durante la Mostra.

KATSUBEN – BENSHI. ‘NARRADORES DEL SILENCIO’

TAKAHIKO IIMURA: FLUXUS, YOKO ONO Y CINE DE CULTO

‘A TRAVÉS DEL RETROVISOR’: PROGRAMA ESPECIAL SOBRE LA HISTORIA DE LA VANGUARDIA CINEMATOGRÁFICA EN JAPÓN DISEÑADO POR EL CINEASTA DAÏCHI SAÏTO

GRUPO (+): TAKASHI MAKINO – REI HAYAMA– SHINKAN TAMAKI

ECOSISTEMAS EN CELULOIDE. TERUO KOIKE, LA JOYA ESCONDIDA DEL SUPER 8 JAPONÉS

 

Más información: http://www.s8cinema.com/portal/2014/05/07/el-s8-celebra-su-quinta-edicion-con-un-programa-especial-sobre-el-cine-japones-desde-sus-origenes-hasta-la-actualidad-en-el-marco-del-ano-dual-espana-japon/

 

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“Film Festival Cartographies” Symposium

Call for papers
“Film Festival Cartographies” Symposium
University of Modena and Reggio Emilia
20-21 November 2014
Modena, Italy

The organisers invite prospective participants to submit abstracts for paper presentations at “Film Festival Cartographies”, a two-day symposium hosted by the Department of Linguistic and Cultural Studies, University of Modena and Reggio Emilia and promoted by the Film Festival Research Network (FFRN) and the Ozu Film Festival.

Film festival studies have been drawing the attention of numerous academics for more than a decade now. Since the end of the 2000s, following the release of landmark theoretical monographs and series (de Valck 2007, Iordanova 2009-2014, Wong 2011), these studies have prominently grown into an independent research field. Moreover, due to the establishment of several networks aimed to develop scholarly research (like the Film Festival Research Network, Chinese Film Festival Studies Research Network, and European Festival Research Project), film festival studies have extensively and intensely expanded both in academia and festival events.

While the majority of publications have focused on feature film festivals, other so-called specialised branches of research have also emerged, focusing on documentary, LGBT/queer, short film, and human rights festivals, among others. Additionally, scholars from different fields of academia such as History, Anthropology, Sociology, Economy, Gender, Media and Film Studies, have drawn on diverse theoretical approaches to analyse the film festival phenomenon, which has become a particularly fertile field for interdisciplinary research.

These multiple perspectives on film festivals reveal the richness of festival sites, in terms of their cultural, political and economic complexity. As a global phenomenon, the dynamic expansion of the festival circuit involves the analysis of multiple, overlapping connections, which push the festivals’ symbolic and material borders. The global reach of festivals is formed by an ever-shifting group of festivals, entwined in a number of transnational networks and ‘circuits’ that have enabled international film circulation. Thus, film festivals have helped to shape the landscape of world cinema, whose imaginary and material geographies tend to both reflect and discuss the socio-spatial power of global film production.

The Film Festival Cartographies symposium endeavours to reflect on issues of global distribution, transnationalism, and on the social imaginaries and political economies embedded in film festivals. The symposium looks for contributions seeking to tackle the ‘social production’ of festival spaces (Lefevre, Harvey, Massey). Based on the idea of ‘critical cartographies’ (Harley, Wood), the event aims to explore the ways in which the festival ecosystem is constituted and marked in the world chart, and how festival maps could be understood as sites of power and knowledge. This involves thinking critically about the mapping strategies of both the festivals and the people working in the festival world. It also implies addressing the ways in which the festival circuit is imbedded in a particular ‘geopolitical aesthetic’ (Jameson) and how they reproduce certain ‘geographical imaginaries’ (Said). The discussion will be open to reflect on the various articulations between the dynamic s
tructures of festival circuits and subjective festival experiences. Thus, it seeks to tackle, for example, the overlapping ‘mental maps’ (Jodelet, Lynch) that come into play at the festivals, related both to the personal trajectories at the festivals (Benjamin, de Certeau), and the festival‘s global position.

Therefore, we are interested in contributions that aim to explore, or challenge, the maps of international and regional film festivals. This mapping can be theoretical (on the various socio-political, morphological and economic aspects of festivals), as well as methodological, introducing new research approaches to the festival ecosystem.

The symposium seeks to continue enhancing the field of film festival studies, promoting the encounter between professionals and scholars from different academic backgrounds, and encouraging an interdisciplinary debate.

Confirmed keynote speakers are Dina Iordanova (University of St Andrews) and Marijke de Valck (University of Amsterdam).

Suggested topics for paper presentations include, but are not limited to:

– Circuits, geographies and hierarchies in international film festivals
– Subjective festival experiences: film festivals’ mind maps and perception
– Mapping the “international” circuits, structuring the festival ecosystem
– “Cosmopolitan” and “world cinema” imaginaries and film festivals
– “Regional”, “national”, “international” festival categories and transnational festival practices
– Global and local festival audiences
– Travel, transit, and movements through the film festival network
– Political economies of film festivals
– Methodological approaches in film festival research

Please send a 200-word abstract proposal, and 3-5 keywords, along with your full name, institutional affiliation and short biography (ca. 50 words) to Enrico Vannucci and María-Paz Peirano at modenasymposium@gmail.com by 4th July 2014.

English will be the only official language of the symposium.

Participating papers will be eligible for publication in a volume edited by “Mimesis International” (http://www.mimesisinternational.com/about) in April 2015.

Registration for the symposium will be available on http://www.ozufilmfestival.com/en/2014-edition/ozu-events/ffcs/ later in the year.

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International Workshop on Japan’s Anime Industry (Jerusalem)

International workshop on the globalization of Japan’s anime industry will be held at the Hebrew University of Jerusalem on May 21, 2014. The workshop brings together scholars and anime industry personnel to discuss the complex relationship between anime’s innovative process and its marketing and consumption at home and abroad. The conference is open to all but pre-registration is needed.

8:30-9:00 – Gathering and registration

9:00-9:10 – Opening Remarks

Dr. Nissim Otmazgin, the Hebrew University of Jerusalem

9:10-10:30 – The Future of Japanese Anime at Home and Abroad

Chair: Helena Grinshpun, the Hebrew University of Jerusalem

Naohiro Shichijo, the National Institute for Science and Technology Policy (NISTEP), “Challenges and Opportunities for Japanese Animation”.

Marco Pellittery, Kobe University, “From ‘anime boom’ to the ‘anime decline’? Japanese anime in Italy and France”.

11:00-12:30 – The Rise and Fall of Anime in America

Chair: Raz Greenberg, the Hebrew University of Jerusalem.

Michal Daliot-Bul, University of Haifa, “anime legacies in the USA: The Case of Anime Inspired Cartoons”.

Nissim Otmazgin, the Hebrew University of Jerusalem, “Japan’s Anime Policy: Supporting the Industry or ‘Killing the Cool?”‘

16:00-18:00 – Round Table Discussion and Anime Screening (Rabin Hall)

Wada George, Anime producer at Production I.G, President of Wit Studio

Makihara Ryotaro, Anime Director at Wit studio

Anime Screening: Attack on Titan (Episode 1 and 2)

Organizers: Nissim Otmazgin (Hebrew University) and Michal Daliot-Bul (University of Haifa).

For information and registration please contact: Dorit.beer@gmail.com

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Call for papers: Asian Cultural and Media Studies Now

Call for papers: Asian Cultural and Media Studies Now

International Conference

Asian Cultural & Media Studies Research Cluster, Monash Asia Institute

6-7 Nov 2014

The Asian Cultural & Media Studies Research Cluster of the Monash Asia Institute, Monash University will host an international conference, ‘Asian Cultural and Media Studies Now’ at Monash University, Caulfield campus in Melbourne on 6 and 7 November 2014.

The conference aims to critically revisit some of the key issues in the study of Asian culture, media and communications, which have been developed rapidly over the last twenty years, to discuss what kinds of new approaches and scholarly frameworks are required in the current socio-historical context. The conference will focus on four key areas of investigation, whose historical significance and transgressive potential requires reassessment in light of the advancement of market-driven processes of globalization and intensifying socio-economic disparity:

1)       Alternative modernities and de-Westernization

2)       Trans-Asian connections, dialogue and unevenness

3)       Cultural convergence, citizenship and socio-cultural diversity

4)       Mobility, imagined communities and cosmopolitanism

We are inviting proposals for paper presentations on these issues, although proposals that are in other ways relevant to the topic of Asian Cultural and Media Studies Now will also be considered.

The conference format will be discussion-oriented and all speakers will give a concise talk of the main points for 10-15 minutes. Speakers are not expected to present complete papers but to raise key theoretical questions with related empirical examination where relevant.

Please send your paper proposals (less than 300 words) with your affiliation details and e-mail address no later than 12 May to: MAI-Enquiries@monash.edu

Please clearly put “Paper proposal for Asian Cultural and Media Studies Now” in the subject line. Acceptance of proposals will be notified in mid-June.

Please kindly be advised that we will not be able to offer financial support for participants’ travel costs. There will be no registration fees for the conference.

We look very much forward to receiving your proposals!

Best regards,

Koichi Iwabuchi, Olivia Khoo & Dan Black
(Conveners, Monash University, Australia)

— 
Dr Olivia Khoo
Senior Lecturer, Film and Screen Studies
School of Media, Film and Journalism
Monash University
Caulfield East, Vic, Australia 3145
Ph: +61-3-99052128
Email: olivia.khoo@monash.edu

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