Alt-SCMS: The JIU Media Studies Department Media Workshop

One of the big chances for Japanese film studies was going to be the annual conference of the Society for Cinema and Media Studies in 2009. It was going to be the first time SCMS, the world's biggest film and media studies organization, was going to meet in Japan and it was going to be a great opportunity for those of us in Japanese film studies - as well as people in the film world in Japan - to present what they do to a world that has often been looking elsewhere. But unfortunately, due to reaction (some would say over-reaction) to the H1N1 virus by Japanese health officials, SCMS ended up canceling at the last minute (I'll talk more about this later). This deeply hurt all those who spend months organizing this thing. But the people rule! Lots of people said they wanted to present anyway, so with the help of Josai International University, which was originally the host of SCMS, we're doing an "alternative SCMS" tomorrow! Come one and come all - but be prepared for a health check at the door!

The Josai International University Media Studies Department Media Workshop

Hosted by Dean En Fukuyuki, Dean of Media Studies

Saturday, May 23, 2009, from 10 am to 5 pm

Josai Kioichō Campus

Schedule of Panels 

Period 1: 10:00-11:50

1A: Modern Femininity and Japanese Cinema

Chair: Chika Kinoshita (University of Western Ontario)

Room 302

Miyoko Shimura (Waseda University)

       “Japanese Women's Films and Cosmetic Advertisement in the 1930s”

Ryoko Misono (University of Tokyo)

       “Fallen Women on the Edge of Empire: Shimizu Hiroshi’s Films on Yokohama and the Image of Imperial Japan in the 1930s”

Sachiko Mizuno (UCLA)

       “Reconfiguring Modern Femininity for Empire: Professional Woman and Tokyo in WOMEN IN TOKYO (1939)”

Chika Kinoshita (University of Western Ontario)

       “When Abortion Was an Issue: The Post-1952 Japanese Films”

Yuka Kanno (University of California, Irvine)

       “Implicational Spectatorship: Hara Setsuko and Queer Visual Formation”


1B: Anxiety, Trauma and Violence in Recent Japanese Film

Chair: Tom Looser (NYU)

Room 301A

Mark Pendleton (The University of Melbourne)

       “Trauma Cinema and the Legacy of Terror: Shiota Akihiko’s Canary and post-Aum Japanese Film”

Oliver Dew (University of London)

       “Melodrama Wars: The Politics of the Wound and Contested Memories of the War in Recent Japanese Films”

Kendall Heitzman (Yale University)

       “The Anxiety of Influence in Kurosawa Kiyoshi's Loft

Elena del Rio (University of Alberta)

       “Form and Performance of Death in the Cinema of Kitano Takeshi”

Rea Amit (Tokyo Geijutsu Daigaku)

       “Japanese Aesthetics, Violence, and the Cinema of Kitano”


1C: GRAFICS and Early Cinema

Chair: André Gaudreault (Université de Montréal)

Room 301B

André Gaudreault (Université de Montréal) and Nicolas Dulac (Université Paris III/Université de Montréal)

       “The Beginnings of a New Cultural Series: The Moving Image”

Pierre Chemartin (Université de Montréal)

       "Alternation and Simultaneity in Turn-of-the century Comics and  Cinema. A Comparative Study of the Split-scene"

Louis Pelletier (Concordia University)

       “Researching Historical Newspapers: GRAFICS' Experience”

Marina Dahlquist (Stockholm University)

“’The Best-known Woman in the World’: Pearl White and the Fate of the American Serial Film in Sweden”

Jan Olsson (Stockholm University)

       “Love Letters and Xenophobia: A Serial Queen at Hearst's New York Evening Journal


1D: New Media Networks

Chair: Scott McFarlane (Concordia University)

Room 401

Scott McFarlane (Concordia University)

       “Magic Molecularity in Raul Ayala’s Melting Pots (2006)”

Wendy Chun (Brown University)

       “Embodied Networks: Cyworld and the South Korean Race / Nation”

Brian Goldfarb (University of California, San Diego)

       “Networks for Redefining Disorder: Internet-based Public Health Intervention Projects”

Satomi Saito (Bowling Green State University)

       “Crying Out Love in the Center of the World: The Language of Bishojo Game”


1E: Animation and the Aesthetics of the Animated Image

Chair: Markus Nornes (University of Michigan)

Room 402

Livia Monnet (University of Montreal)

       “Perversion and Modernity in Oshii Mamoru’s Ghost in the Shell 2: Innocence

Eija Niskanen (University of Art and Design, Helsinki)

       “Riding Through Air and Water – The Relationship Between Character, Background, Fantasy and Realism in Hayao Miyazaki’s Films”

Muneaki Hatakeyama (Waseda University)

“Eisenstein’s Animal: A Reconsideration of the Eisensteinian Notion of ‘Movement’”

Tetsuya Miura (University of Tokyo)

“Robert Bresson and the Mise-en-scène of Automaton”

Takeshi Kadobayashi (University of Tokyo)

“Trajectory of the Cyborgian Smile: Man-machine Romances in Japanese Visual Culture”

 Respondent: Yoshiaki Sato (University of Tokyo)


1F: Pacific Visions

Chair: Kirsten McAllister (Simon Fraser University)

Room 501

Cindy Mochizuki (Emily Carr University)

       “Re-performing Interviews from Slocan, Shizuoka, Fukuoka and on...”

Kirsten McAllister (Simon Fraser University)

       “Temporal Movements: From Historical Displacements to Transnational Flow”

Monika Kin Gagnon (Concordia University)

       “Posthumous Cinema: Unfinished Films and Theresa Cha's White Dust from Mongolia

Roy Miki (Simon Fraser University)

       “Rewriting the Critical Affects: Reading 'Asian Canadian' in the Transnational Sites of Kerri Sakamoto's One Hundred Million Hearts


1G: Cinematic Cities and Monuments

Chair: Lucy Fischer (University of Pittsburgh)

Room 502

Caroline Eades (University of Maryland)

       “A New Cinematic Paris?  Popular Views of the Capital City by Cédric Klapisch, Abdellatif Kechiche and Jean-Pierre Jeunet”

Merrill Schleier (University of the Pacific)

       “The Griffith Observatory in Rebel Without a Cause (1955): Mystical Temple and Spatiotemporal Structuring Device”

Homay King (Bryn Mawr College)

       “Yamamoto's Jacket: Wim Wenders' Notebook on Cities and Clothes

Gary McDonogh (Bryn Mawr College)

       “Transforming the Banlieue: Jacques Tati’s Mon Oncle, Filmic Spaces and the Cultural Geographies of Metropolitan Power”


1H: Russian Cinema in the Transnational Sphere

Chair: Yuna de Lannoy (Oxford Brookes University/ Antwerp University)

Room 503

Olga Solivieva (independent researcher)

       “Colliding Languages in Kurosawa’s Dersu Uzala”

Yuna de Lannoy (Oxford Brookes University/ Antwerp University)

       “Soviet ‘Pollen’ in Japanese cinema: Legacies of Eisenstein’s Ivan the Terrible in Three Films by Akira Kurosawa”

Jasmijn Van Gorp (University of Antwerp)

       “Cinema and the Russian Federation: State-Sponsored Transnationalism to Reinforce the Nation”

Ana Olenina (Harvard University)

       “Indexicality of the Virtual: The Russian Ark as an Affective Journey through the Digital Ruins of Memory”


1I: Women's Representation, Women Filmmakers

Chair: KAWANO Yuka (Josai International University)

Room 504

ISHIJIMA Ayumi (Josai International University)

“The Representation and Discursive Construction of Women and Family: A Comparative View of Japanese and Korean TV Dramas”

HAYASHI Chiaki (Josai International University)

“Young Women’s Agency: Heterosexuality in Japanese Contemporary Cinema”

MIYAZAKI Saeko (Josai International University)

“Contemporary Japanese Women’s Representation in the Post-Gender Era”

SHIBASAKI Sayuri (Josai International University)

“Race in Contemporary American Films: The Politics of ‘Passing’”

Period 2: 1:10-3:00

2A: Sex and Politics

Chair: Anne McKnight (University of Southern California)

Room 302

Maureen Turim (University of Florida)

“Desire as Political Allegory:  Japanese Film in the Sixties and Chinese Film in the Eighties”

Hoang Tan Nguyen (Bryn Mawr College)

       “Bottom Dwelling: Racial Shame and Sexual Politics”

Anne McKnight (University of Southern California)

      Home Alone: The Pink Film and the Gendering of Everyday Life, 1971–1979”

Michael Arnold (University of Michigan)

       “On Location: Tsuda Ichiro, Pink Photography, and the Possibilities of Representation”

Kimberly (Kim) Icreverzi (University of California, Irvine)

       “The Sensation of Affect: Genre and Tactics of Spectatorship”


2B: International Film Festivals and the Framing of [Transnational] East Asian Cinemas and Auteurs

Chair: Julian Stringer (University of Nottingham)

Room 301A

Julian Stringer (University of Nottingham)

       “Global Auteurs and the International Film Festival Economy”

Shujen Wang (Emerson College)

       “National Cinema, International Film Festivals/Sales, and the Location of Tsai Ming-liang Films”

Chris Fujiwara (independent scholar)

“Japanese Films in International Festivals”

Cindy Wong (College of Staten Island, City University of New York)

“Beyond Electric Shadows: The Hong Kong International Film Festival and the Globalization of Chinese Language Cinemas"

Ann Yamamoto (University of Tokyo)

       “Film Festivals and the Regeneration of Local (Place-based) Culture through Globally Networked Cinema Culture”

Respondent: Liz Czach (University of Alberta)


2C: Film Aesthetics and Theory

Chair: Angela Della Vacche (Georgia Institute of Technology)

Room 301B

J. Ronald Green (Ohio State University)

       “Narrative and the Film Loop: Hubbard and Birchler”

Amber Bowyer (University of Southern California)

       “Ghost Space: The Postmodern Construction of Space, Time and Authorship”

Angela Della Vacche (Georgia Institute of Technology Paper)

       “Alberti, Kepler, Bazin and Children in Film”

Serazer Pekerman (University of St Andrews)

       “’Memory-Space’ as the Smooth Battlefield of Deleuze and Guattarian War Machine” 

Shota Ogawa (University of Rochester)

       “Curtain Call: Contesting Nostalgia at the End of Cinema, at the Edge of Honshu”


2D: Asian Cinema

Chair: Leo C. Chen (Seikei University)

Room 401

Fan Yang (George Mason University)

       “Second-Life ‘China’: i.MIRROR, Virtual Documentary and National Image-making in Globalization”

Li Zeng (Illinois State University)

       “The Chinese Horror and the Return of the Historical Trauma: The Lonely Ghost in the Dark Mansion (1989)”

Nikki J. Y. Lee (Yonsei University)

       “Who Says Revenge?: Popular Auteur-director Park Chan-wook and Tartan Asian Extreme”

Nicholas de Villiers (University of North Florida)

       “Anno’s Camera Eye: Sexuality, Youth, and Inoculation”

Nathaniel Heneghan (University of Southern California)

       Takusan no Takeshi: Conceptualizing Celebrity and Identity in Kitano’s Takeshis’


2E: Transnational Crossings: Remakes, Reception and Production

Chair and commentator: Stephanie DeBoer (Indiana University)

Room 402

Jun Okada (State University of New York, Geneseo)

       The Ring: Statelessness and Horror”

Yiman Wang (University of California, Santa Cruz)

       “Made in China, Remade in US -- From Chinese Cinema to “Chinese Elements”, or What’s Happened to Border Politics”

Lars Kristensen (University of St Andrews)

       Nomad (2005) and Mongol (2007) in Epic Transnational Straightjackets”

Hye Seung Chung (University of Hawai'i at Manoa)

       “Hallyu Envy and Reverse Mimicry in Contemporary U.S. Pop Culture”

Phil Rosen (Brown University)

       “Notes on Art Cinema and the Emergence of Sub-Saharan Film”


2F: The Importance of Sogo Ishii

Chair: Alexander Zahlten (Johannes Gutenberg University Mainz)

Room 501

Alexander Zahlten (Johannes Gutenberg University Mainz)

       “Free-floating Intensity, Attraction, and Failure: Sogo Ishii at the Shifting Center of the Film Industry of Japan”

Peter Rist (Concordia University)

       “Sogo Ishii’s Shuffle and the Evolution of the Chase Motif in World Cinema”

Randolph Jordan (Concordia University)

       “In Search of the Centre: Urban Soundscapes in the Cinema of Sogo Ishii”

Tom Mes (

       “Key Factor: Music in the Life and Work of Sogo Ishii”


2G: Experimental and Alternative Cinema in Japan

Chair: Mika Ko (University of Sheffield)

Room 502

Ayami Ushida (Nihon University)

       “The Mysterious Scene between the Cinematic Image and the Original Novel”

Scott Nygren (University of Florida)

       “Yoshida’s Political Purgatory”

Deborah Shamoon (University of Notre Dame)

       Casshern's Fictional Landscapes”

Steve Ridgely (University of Wisconsin, Madison)

       “Terayama Shuji and Post-New Wave Experimental Cinema”

Miryam Sas (University of California, Berkeley)

       “Experimental-Documentary Cinema Movements in 1960s Japan”


2H: Sonic Space

Chair: Erik Hedling (Lund University)

Room 503

Alanna Thain (McGill University)

       “Interior Sonologues: Distributed Bodies and Cinematic Headphones”

Erik Hedling (Lund University)

       “Music, Lust and Modernity: Jazz in the Early Films of Ingmar Bergman”

Orlene Denice McMahon (University of Cambridge)

       “'La Nouvelle Vague: A Musical Revolution?”

Jennifer Steetskamp (University of Amsterdam)

       “Mapping, Mobility, Augmentation: Installation Art and Media Histories”


2I: American Cinema

Chair: Linda Ruth Williams (University of Southampton)

Room 504

Julia Leyda (Sophia University)

       “’Fade Away Never’: Spaces of Cultural Memory in Velvet Goldmine

Arden Stern (University of California, Irvine)

       The Naked Kiss: Typography and the Veil”

Dale Hudson (Amherst College)

       “Post-Westerns: Vampires, Resident Aliens, and Other Immigrants”

Ashley White-Stern (University of California, Berkeley)

       “Creative Salvage: Class, Mobility and Circulation in Charles Burnett's Killer of Sheep

Minhwa Ahn (Cornell University)

       “The Question Melodrama Reconsidered: Limitations and Possibilities of the Woman’s Genre”


Period 3: 3:10-5:00

3A: TV and Video around the World

Chair and commentator: Amy Villarejo (Cornell University)

Room 302

Lynne Joyrich (Brown University)

       “The Magic of Television:  Thinking Through Magical Realism in Recent U.S. TV”

Eirik Frisvold Hanssen (Norwegian University of Science and Technology)

       “Welcome to the Nordvisision": Nordic Unity and Diversity as Televisual Representation”

Karen Vered (Flinders University)

       “Early Australian TV Variety: A Heterogeneous Aesthetic in a Non-Networked Industry”

Azadeh Saljooghi (University of Utah)

       “Mobilizing the Ethical Collective: New Practices in Palestinian and Israeli Documentaries and Digital Media”

Sofia Bull (Stockholm University)

       “'I'm a Doctor, Mulder': Criminal Bodies in Contemporary Television Crime Dramas”


3B: Lust, Caution

Chair: Gina Marchetti (University of Hong Kong)

Room 301A

Gina Marchetti (University of Hong Kong)

       Lust, Caution:  China, Japan, and the KMT on Screen--Present and Past”

Patrick Boyle (University of California Irvine)

“Corporeal Acts, Fleshly Desire, and Ideological Restraints:  Performance and Colonial Discourse in Ang Lee's Lust, Caution

Giorgio Biancorosso (University of Hong Kong)

       "Lust in Lust, Caution"

Katrien Jacobs (City University of Hong Kong)

       "The Hong Kong response to Boudoir Realism: From Erotic Masterpieces to D.I.Y. Porn"

Maureen Sabine (University of Hong Kong)

       “The Dark Heart of the Family Romance in Ang Lee's Lust, Caution (2007)”


3C: Talking about Cinema: Japanese Film Theory and Japanese Benshi

Chair: Aaron Gerow (Yale University)

Room 301B

Naoki Yamamoto (Yale University)

       “Overcome by Reality: A Critical Approach to Realist Film Theories in Prewar Japan”

Ryan Cook (Yale University)

       “Strange Bedfellows: Oshima Nagisa, Hasumi Shugehiko and Japanese Film Theory”

Kyoko Omori (Hamilton College)

       “The Benshi as a Modernist: Tokugawa Musei and Psychological Films of the Early Twentieth Century”

William Gardner (Swarthmore College)

       “Sawato Midori and the Contemporary Performing Art of Katsudo Benshi [Silent Film Narrators]”


3D: Spaces of Modernity in Japanese Cinema

Chair: Ayako Saito (Meiji Gakuin University)

Room 401

Alastair Phillips (University of Warwick)

       “Fractured Landscapes: Space, Location and History in Uchida Tomu’s A Fugitive from the Past (1965)”

Alexander Jacoby (University of Warwick)

       “Yoshimura's Kyoto: Space and Femininity in the Postwar City”

Woojeong Joo (Nagoya University)

       “'Digesting Modernity: Eating and Drinking Out Spaces of Ozu'”

Mark Roberts (University of California, Berkeley)

       “High-growth Satire: Masumura Yasuzô in the Showa 30s”

Michael Raine (University of Chicago)

       “Masumura Yasuzo and ‘Film Study’ in Japan”


3E: Transversing Japanese Cinema: Between the Colonial and the Global

Chair: Mayumo Inoue (University of the Ryukyus and University of Southern California)

Room 402

Mayumo Inoue (University of the Ryukyus and University of Southern California)

       “Hiroshima beyond the aesthetics of failure: History, Materialism, and the City in Suwa Nobuhiro's H Story

Yasuko Ikeuchi (Ritsumeikan University)

       Her Narrative and Her Body: Two Films by Kum Soni

Bryan Hartzheim (UCLA)

       “An Asian Doll in French Clothes: Assimilation and Reception in the Films of Tsuruko Aoki”

Kukhee Choo (University of Tokyo)

       “Playing the Global Game: Tokyo, the Anime Industry, and Nation State in Tekkon Kinkreet [2006]”

Chris Robinson (University of Kansas)

       “The ‘Exotic,’ the Universal, and the Art-House Gross: East-West Relations and Marketing Japanese Film to Foreign Audiences, 1951–1957”


3F: European Film

Chair: Janelle Blankenship (University of Western Ontario)

Room 501

Tobias Nagl (University of Western Ontario)

       “Ethnography, Performance and Hybridity in the Weimar ‘Racial Film’”

Janelle Blankenship (University of Western Ontario)

       “The Nature of Film: Nosferatu, Time Lapse and Weimar Popular Science Film [1922–1928]”

Courtney White (University of Southern California)

       “Towards an Abstract Modernist Painting in Cinema: Leopold Survage, Piet Mondrian, and Oskar Fischinger”

Aya Ogawara (Seijo University)

       “Going between the Actual and the Virtual: Jacques Rivette's L'Amour par terre

Jie Li (Harvard University)

       “‘Just Images’ of the Chinese Cultural Revolution: Antonioni’s Chung Kuo and Ivens/Loridan’s How Yukong Moved the Mountain


3G: Human Trafficking and the Body

Chair: Aga Skrodzka-Bates (Clemson University)

Room 502

Aga Skrodzka-Bates (Clemson University)

“Eastern European Woman as a Sex Commodity: Slave Suicide in Cinematic Representation”

Hunter Vaughan (Washington University in St. Louis)

“Sex Slaves in a Free Market: Trafficking the Female Body and its Image in Two Films by Lukas Moodysson”

Kette Thomas (Michigan Technological University)

“The Exacting Wound: Using Absence as a Tool in Representations of Human Trafficking in They Call Me Dog and Lilya 4 Ever

Maryn Wilkinson (University of Amsterdam)

       “Wonder Girls: The Close-up and the Image of the Teen Girl Body in Contemporary American Cinema”


3H: Remapping Cinematic Spaces

Chair: Tami Williams (University of Wisconsin-Milwaukee)

Room 503

Diane Wei Lewis (University of Chicago)

“‘Kyoto, Hollywood of Japan’: Imaginary Geographies of the Japanese Film Industry after the Great Kanto Earthquake of 1923”

Laura Horak (University of California-Berkeley)

"Cross-Gender Casting in Silent Cinema”

Christopher Natzén (Stockholm University)

“‘Have you heard it yet?’ - The Sound/Musicness of the Ads for the First Sound Films in Sweden”

Brigitta Wagner (Indiana University)

       “Retrospectives and the Revival of Place”

Joshua Yumibe (Oakland University)

“Color Spaces and National Styles, from France to the U.S.”


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