SCMS Tokyo 2009: Special Events and Panels Schedule
Akira Mizuta Lippit, Program Coordinator

May 21, Thursday JIU Hall

“Expressions of Animation: Reconsidering the Dualistic Framework”
  SANO Akiko, Chair
 (St.Andrew's University)
  IMAI Ryusuke
 (Hanazono University)
  GAN Sheuo Hui
 (Kyoto University)
 DOI Nobuaki
 (The University of Tokyo)
    Animation has been considered as a peculiar genre in image expression and is
 essentially different from other expressive styles. In general, animation has been
 defined in contradistinctive frameworks, and dualisms such as animation/live-action,
 abstract/representative, realistic/unrealistic, artistic/inartistic, for children/for adults,
 full animation/limited animation, main culture/subculture, commercial/noncommercial
 has practically been perceived as an axiom. Academic animation researches basically
 have also followed such contradistinctive premise and dominated by the dualistic
    However, as we step into the full-scale digital age of the 21st century, the
 borders between animation and other image expressions have been permanently
 removed; we have begun to face many issues that cannot be understood with the
 conventional dualistic framework. For example, it is even difficult to define animation
 in a universally persuasive manner. In order to breakthrough such current situation, it
 is imperative to develop a perspective that is different from the conventional one.
 Therefore, destructing the dualistic framework is an urgent issue.
    The purpose of this panel is to question the conventional dualism and to
 recommend an alternative framework for animation research. This panel consists of
 four scholars (one Malaysian and three Japanese) specialized in animation. Each of the
 four will illustrate a new perspective of animation research that is different from the
 conventional one by analyzing and reconsidering diverse styles of works from past to
 present, not limiting its subject of analysis to Anime in contemporary Japan.

May 21, Thursday JIU Hall

“Transversing Japanese Cinema: Between the Colonial and the Global”
 INOUE Mayumo, Chair
  (University of the Ryukyus)
 (Ritsumeikan University)
 LEE U-me
 (Kyoto University)
 YOMOTA Inuhiko
 (Meiji Gakuin University)
    This panel treats Japanese cinema not as a designator of the national but a site
 of immanent transversal and constant translation enacted by filmmakers and audiences
 who are invested in minor memories and clandestine narratives. While Yomota
 Inuhiko will discuss both theory and practice of the auteur Oshima Nagisa, Yasuko
 Ikeuchi's presentation will examine how a resident Korean artist Kum Soni recites
 works by Oshima and others and offers her particular critique of the colonial. Mayumo
 Inoue will explore the aesthetic and ethical significance of Suwa Nobuhiro's H Story, a
 film that rather deliberately narrates its own failure to remake Resnais's Hiroshima Mon
 Amour. Lastly, U-me Lee will discuss the recent reconfigurations of capital and the
 bodies in Japan and East Asia which both limit and stimulate these critical filmmaking

May 22, Friday JIU Hall

“Jin-Roh:The Wolf Brigade”
OKIURA Hiroyuki,Japan,1998,100 min
 Uncompromising is the word for Jin-Roh: The Wolf Brigade.
 The best Japanese animated film since Hayao Miyazaki’s Princess Mononoke or
 Hideaki Anno’s The End of Evangelion, Jin-Roh may be fairly counted as the last great
  anime film of the 20th century.or perhaps the first great one of the 21st.
 A remarkable collaboration between two generations of filmmakers, Jin-Roh marries a
 hard-hearted script by Mamoru Oshii.
 the internationally acclaimed maker of Ghost In The Shell.
 with the verite direction of Hiroyuki Okiura, assistant to Oshii on Ghost.

 with special permission by BANDAI Co., Ltd./Bandai Entertainment.

May 22, Friday JIU Hall

“HIROSHIMA 4D : Time, Space, Memory, Change”
 Michel RENOV, Chair
  (School of Cinematic Arts/Associate Dean, University of Southern California/Professor)
 TANABE Masaaki
 (Knack Images Production Center/President)
 Steven LEEPER
 (Hiroshima Peace Culture Foundation/Chair)
 HIROSE Michitaka
  (The University of Tokyo Graduate School of Information Science and Technology/Professor)
 Kristy KANG
 (University of Southern California)
    Sixty-four years have passed since the first nuclear weapons were used to kill.
 Those who experienced the tragedy and suffering are diminishing rapidly in number.
 As time goes by, our memories are fading, some perhaps even starting to disappear.
 Many hibakusha (victims of atomic radiation) are now in their eighties. As the
 generational clock shifts, we cannot rely on them much longer to tell their stories
 first-hand. The focus of this Special Panel will be to explore new approaches to telling
 the story of our bitter heritage to next and future generations.
    A Special Event of the 2009 SCMSC, this unique panel is composed of filmmakers,
 scholars and peace representatives from both the United States and Japan. Together,
 they will discuss ways in which innovative media art and expression can be used tell the
 tragedy and the bitter lessons learned from nuclear war, to future generations. Special
 Panel “Hiroshima 4-D” will focus on the four dimensions of Time, Space, Memory and

 ●Panel members:
   Peace representative Mr. Steven LEEPER will discuss his unique experience, and
 changes he is implementing as the first American to head Hiroshima’s memorial
 foundation, the Hiroshima Peace Culture Foundation.
   Documentary filmmaker and hibakusha Mr. Masaaki TANABE has done extensive
 research on what existed in Hiroshima before its destruction. Based on testimonies of
 survivors, he is attempting to re-construct digitally, the daily life of pre-bombing
 Hiroshima. He will present a comprehensive overview of ten years of his research and
 brick-by-brick digital re-construction of the city of Hiroshima.
   Media arts scholar Ms. Kristy KANG’s presentation will be on innovative storytelling
 through interactive applications.
   VR specialist Dr. Michitaka HIROSE will focus on the potential of communication
 technology combined with interface devices to create a powerful communication
 environment capable of telling stories.

 Special Panel Moderator will be Dr. Michael Renov, Professor/Associate Dean of
 Academic Affairs at the University of Southern California’s School of Cinematic Arts.
 Dr. Renov’s teaching and research interests include documentary theory, autobiography
 in film and video, video art and activism, and representations of the Holocaust.

 ●A Special Screening of “Traces of A City” (High-definition video / 15 minutes / 2008),
  will take place during the panel discussion.

 In 1953, Dwight D. Eisenhower pledged
 America’s determination to
 “devote its entire heart and mind to find the way
 by which the miraculous inventiveness of man
 shall not be dedicated to his death,
 but consecrated to his life.”

May 22, Friday JIU Hall

Performance by SAWATO Midori
Orizuru Osen-The Downfall of Osen(MIZOGUCHI Kenji, 1935)
Preceded by Our Gang--Dog Days(Hal ROACH, 1925)
 Sawato Midori is the foremost katsudô benshi artist in Japan, preserving and continually
 developing the art of eiga setsumei, the narration of silent film. During the silent period,
 katsudô benshi were employed to narrate both Japanese and foreign films—performing
 such diverse functions as reading intertitles, giving voice to the characters, providing
 introductions, commentary, and conclusions, and otherwise leading the viewer into the
 world of the film. Indeed, some benshi became recognized stars in their own right,
 drawing audiences to the theaters through their entertaining narration. Sawato Midori
 studied under the late Matsuda Shunsui, a child benshi during the silent period who later
 became one of the leading advocates for the preservation of silent film and appreciation
 of the art of katsudô benshi. After Matsui’s death in 1987, Sawato stepped into the role
 of headliner at the monthly film screening of the Friends of Silent Film Society (Musei
 Eiga Kanshôkai), which draws upon the extensive film Matsuda Film Archive. She has
 also toured extensively throughout Japan, as well as numerous venues in Europe, the
 Americas, Asia, and Oceana. For this performance, Sawato will provide benshi for
 Mizoguchi Kenji’s silent masterwork Orizuru Osen, staring Yamada Isuzu, the actress
 who later appeared in Mizoguchi’s Sisters of Gion and Osaka Elegy. Set in the Meiji
 Period (1868-1912), Orizuru Osen follows the sacrifices of Osen, who falls into
 prostitution and eventual madness as she struggles to support Sôkichi, a young medical
 student. Orizuru Osen will be preceded by a comedy short from Hal Roach’s “Our
 Gang” series, demonstrating another facet of Sawato Midori’s benshi skills.

May 23, Saturday JIU Hall

Conversation with Experimental Filmmaker MATSUMOTO Toshio
 KITANO Keisuke, Moderator
 (Ritsumeikan University)
 Inside and Outside of Director Matsumoto Toshio
 Aspects of the image practices by director Matsumoto Toshio will be illuminated
 through tracing his major works with reference to their artistic, intellectual, political

May 23, Saturday JIU Hall

“New Directions in Contemporary Japanese Animation”
 KURODA Yoshio, Co-Chair
 (Director, Creator)
 TAKEFUJI Kayo, Co-Chair
 (JIU, Visual Artist)
 OKIURA Hiroyuki
 (Director, Animator)
 ANDO Hiroaki
 (Director, CG Creator)
 KAWASAKI Hirotsugu
 (Director, Animator)
   In recent years within the globally leading Japanese animation industry the unique style of
 Japanese anime has been established by the blending together of traditional cell animation methods
 with intensified digital processes.
   The productions of Ôtomo Katsuhiro and Oshii Mamoru have been turned out in great
 numbers within an anime industry that has gone through rapid changes in the digitalization of
 production processes. Welcoming these two figures at the forefront of the next generation of
 animation creators as our panelists, we will explore the direction and possibility of expression in
 their works.

 ■ Theme One: “The Effects of Digitalization on Anime”
   Over the course of a decade, the digitalization of the Japanese anime industry has rapidly
 progressed. Shifting from the cell animations of the past to digital paint and digital shooting,
 backgrounds and characters have been brought into three dimensions. We will examine the effects
 that this digitalization has had upon Japanese anime from the perspective of these creators who were
 active at the front lines during the period of transition from analog to digital processes.
 ■ Theme Two: “Anime and Globalization”
   Japanese anime now has a global market and has become one of the representative forms of
 Japanese popular culture. In addition, the number of foreigners who come to Japan as tourists or
 students increases every year with anime as their initial cause to form an interest in Japan. At the
 same time, the present anime industry has become considerably dependent upon the outsourcing of
 the production process centering on Asian countries like Korea and China. We will discuss the
 relations between Japan and foreign countries in anime based upon the real situation at the site of

 ■ Theme Three: “The Future Direction of Japanese Anime and its Expressions.”
   Japanese anime has taken a different course than the full three dimensional animation
 represented by Disney even while adopting digital technologies. We will explore the direction of
 each panelist’s future activities and how the unique features of Japanese anime, such as the use of
 both 2D and 3D, and the relation between anima and manga, will develop in the future.

May 23, Saturday JIU Hall

Conversation with scholar Donald RICHIE
 Markus NORNES, Moderator
 (University of Michigan)
 Donald Richie, author of many books on Japanese cinema, will discuss his lifework
 with Abe Mark Nornes (University of Michigan).

May 24, Sunday JIU Hall

The state and perspectives of Japanese and Asian Films
 MURAKAWA Hide, Moderator
 SATO Tadao
 (Film critic, Japan Academy of Moving Images/President)
 KAKEO Yoshio
 (Kinema Junpo Film Institute/Executive Director)
 The current states of Japanese and Asian films will be analyzed, both with respect to the film works
 and industries. Since various Asian films from Iran, China, Korea, Thailand, Indonesia, Malaysia,
 Vietnam, Mongolia, the Philippines, and India have recently been introduced to the world, they have
 started to receive closer attention. Mr. Tadao Sato, a leading Japanese film critic as well as a
 pioneering researcher into Asian films, who has long introduced Asian films to the world as Director
 of the Focus on Asia Fukuoka International Film Festival, will discuss the visual cultures of Japan
 and Asia.
 Mr. Yoshio Kakeo, the former Chief Editor of “Kinema Junpo” magazine and current Executive
 Director of Kinema Junpo Film Institute, will present an overview of the film industry of Japan as an
 authority in this area in Japan and Asia. His talk will shed light on the transition from the postwar
 period to the present, as well as the characteristics, and future perspectives of Japan’s film industry.
 Furthermore, he will discuss perspectives concerning how the film industries of Japan and Asia will
 change Asian visual cultures in future.

 Section Ⅰ  10:00 - 10:40
         “The state of Japanese and Asian films from the perspective of the film works”
         Tadao Sato
 Section Ⅱ  10:40 - 11:10
         “The state of Japanese and Asian films from the perspective of the film industries”
         Yoshio Kakeo
 Section Ⅲ  11:10 - 11:45
         Questions and Answers
         Tadao Sato
         Yoshio Kakeo
         Moderator: Hide Murakawa

May 24, Sunday JIU Hall

Conversation with filmmakers AOYAMA Shinji and KUROSAWA Kiyoshi
 Aaron GEROW, Moderator
 (Yale University)
    World-renowned directors, Kurosawa Kiyoshi (Cure, Pulse, Tokyo Sonata) and Aoyama
 Shinji (Eureka, Sad Vacation, Helpless), will discuss their own work, the state of Japanese cinema,
 and their approach to film study and theory.

Additional Panel : May, 21, 13:15-15:00, JIU Room 507

“Women’s Representation, Women Filmmakers”
 “The Representation and Discursive Construction of Women and Family: A Comparative View of Japanese and Korean TV Dramas.”
 “Young Women’s Agency: Heterosexuality in Japanese Contemporary Cinema.”
 “Contemporary Japanese Women’s Representation in the Post-Gender Era.”
 “Race in Contemporary American Films: The Politics of ‘Passing.’”