Got back yesterday evening from a fantastic time at Nippon Connection in the fine city of Frankfurt, Germany. Everything I'd read previously about NC is true. The event's super-casual, friendly atmosphere, where filmmakers, artists and fans alike mingle freely belies the importance of the event's celebration of Japanese cinema and culture. Alex, Marion, Holger and the dedicated staff have nurtured their own unique piece of Japan 9,342 km away.
The heart of NC is at the Bockenheim campus of Johann Wolfgang Goethe-University, not far from the center of Frankfurt. Along with additional screenings at the German Film Museum and other venues, there's definitely no better place outside of Japan to catch the latest releases by well-known filmmakers (Nippon Cinema programme), shorts and features from the indie front lines (Nippon Digital) and rarely seen animation classics (Nippon Retro). The screenings are a combination of international, European and German premieres. Combine this with the myriad of accompanying cultural events, food and parties and you realize Nippon Connection is not just the biggest all-Japanese film festival outside of Japan (in the world?) but one of the key J-events on the calendar, period.
I mainly stuck to the indie work found in the Nippon Digital programme. Young creators need all the support they can get and NC really does a great job of shining a light on new talent. I'll be writing an extended blog entry on one debut film I was greatly impressed by once the director sends me some visuals. In the meantime, some shout outs to katsudô shashin benshi Kataoka Ichirô's performance for Kinugasa's A Page of Madness, Honda Ryûichi's Beyond the Fence and the shorts of Itô Yoshihiro. My favourite non-film event was the kamishibai (paper theatre) performance by avant-garde troupe Spice Arthur 702. And of course a well-deserved congratulations to Fujita Yôsuke's Fine, Totally Fine (see my December 16th entry), which grabbed the Nippon Cinema Award at the closing ceremony before the screening of Kawase Naomi's The Mourning Forest. Second prize went to Nakamura Yoshihiro's The Foreign Duck, the Native Duck and God in a Coin Locker and third prize to Yamashita Nobuhiro's A Gentle Breeze in the Village.
As I mentioned previously, I gave a presentation entitled "Nihon Eiga Saizensen: Dispatches From the Front Lines of Japanese Cinema." Through the magic of Powerpoint and video, I spoke about the latest news and trends in Japanese cinema production and distribution/exhibition. Those in the packed room enjoyed the first-ever public airings of trailers for films such as Tsukamoto Shinya's Nightmare Detective 2, Japan-China co-production Tea Fight and Kurosawa Kiyoshi's Tokyo Sonata. I'm going to try to create a streamlined web-based version of the presentation, time permitting. From what I heard, people enjoyed it.
I also participated in a podium discussion with a theme of politics in Japanese cinema. Moderator Alex Zahlten, director Yamashita Nobuhiro, director Izuchi Kishu, director Chikuma Yasutomo, actor Jibiki Gô, and I touched on various topics including what makes a film "political," the activities of eirin, Japan's student movement as it relates to cinema, and of course the ongoing debate about the documentary Yasukuni.
Nippon Connection's screening of Yasukuni got some press in the Asahi Shimbun before the fest opened (see here, Japanese only). Major TV network TBS even dispatched their Berlin bureau to cover audience reaction. A special screening was added on the morning of the last day for Japanese directors and guests that were concerned they wouldn't be able to see the film in Japan. The general (common sense) consensus was that Yasukuni should be allowed to be shown freely, but I'm looking forward to a more detailed account of reactions from NC organizers. Truth be told, after following the situation in the media and writing articles about it for Screen, I'm Yasukuni'd out. One of the most recent essay/interviews is on Japan Focus here. Midnight Eye's Jasper Sharp also writes about the film's NC screening on the KineJapan mailing list, which you can join here.
Finally, I moderated one of the late-night one-on-one sessions, with United Red Army star Jibiki Gô. Jibiki-san, who plays the hard-assed character of Mori in the film, spoke eloquently about working with Wakamatsu, the production of United Red Army and the challenges of being an actor in Japan when you're not hooked up with a major jimusho. Ironically, Jibiki-san had a bit part in director Harada Masato's Choice of Hercules. You can imagine what Wakamatsu thinks of that film.
Had your fill of celluloid and pixels? Take a load off in the tatami-floored sake lounge, or perhaps buy a steaming bowl of udon and crash on a beanbag chair under bamboo leaves. Nearby, vendors offer the latest Japanese movie books and DVDs, t-shirts, and Nipponese knick knacks. At night you can check out throbbing DJ events or belt out songs in the basement karaoke (I knocked 'em dead with my rendition of "(Marie's the Name of) His Latest Flame"). It's no secret that a good portion of the people that frequent NC are in it for the non-movie offerings. It was easy to tell all the visiting filmmakers really enjoyed the fun and friendly atmosphere fostered at NC. The reactions and feedback they get from audiences is priceless for them.Thanks to everyone at Nippon Connection. I feel like a fool for not having made the trip before -- môshiwake gozaimasen. Already looking forward to the next edition!
13 comments:
I wanted start usual ranting over JF article and the equivalent from Mcneil I just read in NEWSWEEK JAPAN 5 miniutes ago(I KNEW he gets lively with shadenfreude with this fuss),but I suspend since your post is full of joy and happiness and I can always bitch about JF anytime.
Yasukuni'd out? Funny.
Glad you had fun in Frankfurt.All this festival for Japanese films?
Never knew there were such a big fandom in Germany.I thought they have little interest in Japan in general compared to French....
Aceface
Hi There,
Glad you had fun in Frankfurt.All this festival for Japanese films?
Never knew there were such a big fandom in Germany.I thought they have little interest in Japan in general compared to French....
Well, certain directors (like Sabu) definitely have devoted fans over there and (West) Germany of course invested in Japanese animation in the past (Heidi etc.) but it's actually been NC and Rapid Eye that have accelerated demand for Japanese contents I think.
I just linked to the JF essay as one example of a recent piece. Only skimmed it. The facts of the Yasukuni situation all seem correct, but there's a lot of other rhetoric shoehorned in that I didn't read. What's your problem with it, in short?
I hope when my movie comes out that it gets 10% of the free publicity Yasukuni has gotten.
You know I don't get the art of typing short.Jason.
As for Mcneil's Newsweek article:
1)mentioning Paul Shrader's MISHIMA was postponed because of the pressure from right wing.(Mishima's wife didn't authorized filming and threatened the distributor of bringing it to the court.)
2)Itami Juzo got stabbed for the same reason.
(Had no political implication according to police interrogation to the Goto-gumi member who carried out the assault)
3)2001 documentary"JAPANESE DEVILS"
was not screened for general public,inspite of being awarded in oversea film festival.
(It was screened in Theater Imageforum in December 2001)
4)Accusation to diet member Inada Tomomi.
Inada was against of using taxpayers money(about 7.5million yen)for this film.She has made clear comment on TV that her intention was to question the legitimacy of funding,but clearly supports screening.Somehow Macneil quotes the accusation of the right wing member that Inada had double crossed them since she didn't support their activity and calling double tongued.WTF?
5)The politicians are manipulating right wingers to jeopardize screening of film that involves Japan's undigested past.Thus sharing their roles of silencing dissidents.
(Pure speculation without no concrete evidence of what so ever)
I haven't seen the film yet.So everything is from Li's interview and website.
However,I have some concerns.
1)He seems to be focusing too much on the freaks who goes to Yasukuni only do have others take their pictures,which clearly are not the real supporters of souls enshrined there.
2)Featuring Controvertial Taiwanese "aboriginal"politician,高金素梅.
3)Use of the article of 100 man-sword killing in Nanjing during interview to the swordsmith.
http://ja.wikipedia.org/wiki/%E7%99%BE%E4%BA%BA%E6%96%AC%E3%82%8A%E7%AB%B6%E4%BA%89
4)I've read four interview of Li which are all indentical.And there he always talked about what triggered him to make this film.
And that's about when he attended International Symposium of 60th anniversary of Nanjing masscre held in Kudan Kaikan and there war-time propaganda "南京" was shown and everyone watching the film had started to clap their hands passionately in the scene of Japanese flag had risen in Nanjing city.
Li said he was deeply disturbed because not only right wingers,but ordinary people have such mentality.
But I couldn't believe this is a normal responce coming from Joe-Tokyoite as Li said repeatedly in the interview.And I was also suspicious about such meeting would be held in Kudan Kaikan if not by the revisionists,since KK is run by The Association of the Family of War Dead of Japan,a ground zero of Yasukuni supporters.(It even stands right next to the shrine)
So I asked my colleague who attended the symposium in 97,she recalled no such screening and it wasn't even held in Kudan Kaikan(It was held in Shin-Okubo and Hibiya) since the panelists were all liberal and left-wing academics.
I checked "Children and Textbook National Network 21"homepage,where the list of historical revisionist are being listed and there were no other symposium in 1997 then the one my colleague had attended.
Somehow coincidentally I've found out a symposium organized by the revisionist group called 南京事件７０周年国際シンポ was held in Kudan Kaikan last year,and ”南京”was screened there.
Maybe I'll phone Kudan Kaikan tommorow to find more details.
Aceface.
Those are pretty big goofs on the film release stuff (that basic research could've cleared up).
The uyoku/LDP links I'm not qualified to speak on, but if you saying the writer is reaching, they probably are. Though it does clearly quote Inada as saying "I have no interest in limiting freedom of expression or restricting the showing of the movie" (writer could've conveniently left that out).
Just noticed the JF website doesn't have the ability to leave comments? Dumb.
Maybe Li was referring to the symposium mentioned further down the page here:
http://www.linkclub.or.jp/~teppei-y/tawara%20HP/nankin.html
But that looks to be '99.
"Those are pretty big goofs on the film release stuff (that basic research could've cleared up)."
I remeber more than three English magazines(Tokyo Journal,Far Eastern Economic Review and forgot the last one) that used photo of the same old man with Imperial Army Infantry uniform leveling samurai sword.He doesn't have any political agenda what's so ever.Just the equivalent of Goth-Loli girls in Harajyuku and cosplayers of Odaiba.
They are there,because that is the only place they can be in 21st century Japan,and since the role of Yasukuni is coming to an end (for the veteran of the war are dying out and there are no new KIA in the past 63 years.)These marginalized underdogs are filling the vaccum.That would never happens to say,Arlington cemetary where it's symbolic role is still needed in the society,because you get brand new body bags coming from Iraq everyday.
For Junkerman/Mcneil/Li,Yasukuni maybe an omen for things to come,but for me,Yasukuni is no more than the tomb of Japanese nationhood.If there would be some nationalistic movement it would come from somewhere there are more actions of the living,like say,Akihabara.
There are some in LDP linking with Uyoku,but I don't recall Uyoku black vaning when "Battle Royale" was canned by LDP diet member in 2000.
There were black vans marching to the theater when confort women doc,Byun Young Joo's "The Murmuring"was screened in 1995,but I don't recall politicians weigh in either.
"Maybe Li was referring to the symposium mentioned further down the page here"
Nope.That's the one in Nanjing.You gotta check the Li's interview in RONZA,or EIGA HIHO.(There was also an ad with Tawara Souichiro on Asahi and Li was basically saying the samething)
Needless to say,I'm just being a wiseass here.After all,Li spends ten years of his life for this doc and sometimes foreigners can potray a society better than the locals who are muddling in the tiny details.But still I just need to find out how much I can commit to this doc.
Aceface
For Aceface and the benefit of those who arent on Kinejapan, here's my thoughts cut and pasted from my message. They were a bit hurriedly jotted down, and I would think about writing something for Midnight Eye on the film, IF ONLY I HAD THE TIME!!!!
>>>
I'm just back from Nippon Connection, which program-wise represented an incredibly strong year for Japanese cinema, both on the mainstream side and the indie jishu eiga level - the audience prize to Fine, Everything Fine (Zenzen daijoubu) seemed particularly well-deserved this time round. Not as many list members there as last year, I couldnt help but notice, which was a pity as they certainly missed out here. I keep saying this as often as possible, but this is THE place to get any idea of what is going on in Japanese cinema at any given year, as well as to meet the people making the films. A big thanks to Alex, Marion and Holger for putting together such a great event, and also to the volunteers who made the weekend such a fun experience.
I caught the screening of Yasukuni, but missed the podium discussion. My comprehension of the film was somewhat blighted by the fact that it screened with German subtitles, and is common with documentaries from Japan (if we can label it as such) the sound was fairly down in the mix, so for someone with my level of Japanese and German, I didnt have 100% word for word understanding, but certainly enough to get a fairly decent impression.
Obviously this was one of the talking point films of the weekend. My generally feeling was that while it was fairly even-handed in giving voice to a good number of different characters, it would certainly have been provocative for Japanese viewers of all political persuasions, and I don't necessarily mean that in a good way. I feel it was important to screen this film, as it certainly highlighted the complexities surrounding the shrine, which for non-Japanese viewers, and more specifically non-Asian viewers, are so often simplified in our media. There are a number of stand-out scenes, which work on the same agit-prop level as Ogawa's Narita films, namely the sight of one protestor being forcibly and bloodily ejected from the shrine during a visit by Shintaro Ishihara, while being repeatedly harangued by an old nationalist shouting "Go back to China!" - it transpires the young protestor is in fact Japanese! However, I heard rumours that one of the other more memorable sequences - of a non-Japanese speaking American pledging his support for Koizumi's visits while holding up an American flag, and getting a fairly mixed response from the rest of the people at the shrine to say the least - was in fact set up. Can anyone verify this?
Anyway, all in all, it would seem that director Li Yang was going for a more gut response. The film had important things to say, but I think on the balance I would share Inada Tomomi's doubt in the Japan Focus article "about the movie’s political intentions”, though this is not to say I would agree in any way with decisions to suppress it. Japan fought a war of aggression in Asia, it is true, and yet my understanding is the shrine is not only for those who died in the Pacific War. PM Koizumi's visits then, from my British perspective, surely cant be so different from the Queen's attendance at the Remembrance Day ceremony? Well, its certainly a point of debate, and the relationship in Japan between religion and state politics has a very different history to that in the UK. In another of the films screening at the festival, the less-emotive Tokko: Wings of Defeat, a collaboration between US-born Japanese Risa Morimoto and Japanese-born American Linda Hoagland, one of the surviving kamikaze pilots did voice the opinion that for all the horror and destruction of the war, the one benefit is that it did force Japan to renounce war in other countries. I wish I could say the same thing about my own country. Yes, Koizumi's annual visits to the shrine can be seen as a provocation to its Asian neighbours, but I'm also of the opinion that the Chinese condemnation of these visits has more than a slight air of opportunistism about it. The war ended 60 years ago now, and I see a film such a Tokko as part of an interesting way of looking at how and why the world descended into such horrific madness on such a scale, of trying to get a clearer picture of "the fog of war" from a more detached time distance. The ongoing finger-pointing and acrimony in Asia does not seem helpful or healthy, and seems more motivated by contemporary politics. It might just be time to draw a line and move on as has been the case in Europe. Certainly events that have arisen in the past few weeks in the run up to the Olympics suggest that China might not be in the best position to take any moral high ground.
I'm looking forward to seeing how this continuing discourse resolves itself. I'd be very interested to hear if Japanese viewers found the film in any way offensive, or merely controversial. My basic sentiment in all of this is that as an individual from the other side of the world and 60 years on from the war, I have no strong feelings either for or against the role of Yasukuni. Clearly the director and those who would seek to ban his film from being shown have a different relationship to the material. Nevertheless, I would like to see it again, and do understand its importance in raising the debate around these issues, so for that reason I am very glad Nippon Connection decided to screen it.
Jasper:
I would like to make it clear that while Inada's concern over objcetivity of "YASUKUNI" is seemingly valid(but then again,I haven't seen the whole,but pieces in here and there) ,along with some of her claim on Hundred-man-killing law suit,still the fact remains she is a revisionist and a supporter of the film"Truth of Nanjing"directed by Mizushima Satoru(did you know that he was script writer of Sino-Japanese co-production "Panda Story"(1988)?
That was supposed to be a commemoration of 15years anniversary of Japan-China freindship treaty..)
And the comparison of "Queen's attendance at the Remembrance Day ceremony" to Koizumi's visit to Yasukuni is irrelevant,I think.
Annual visit of Yasukuni by emperor was a religious ceremony and operated in November,cropping senason and the time of Shinto ritual.
Visit in August 15th was started by PM Miki Takeo in 1975.Miki, who was actually a leftist and the act was to gain support from conservative element in LDP for his premiership.
Showa Emperor stopped going to Yasukuni from November of 1975,for the reason revealed recently by a memo of former director of Imperial House Hold Agency that Emperor was not pleased with move of enshrine of 14 A class war criminals including Tojo Hideki.
Current Emperor,Akihito has never been to Yasukuni.And memorial day ceremony are held in near by Chidori-gahuchi cemetary of anonimous soldiers.
Anyway,UK would accuse such criminals and would make them removed from St Paul Cathderals or whereever.
another thing that bothers me.
This is a quote from Chinese literary legend,魯迅Lu Xun's short piece "藤野先生Dr.Fujino" written when Lu was studying in medical school in Sendai in 1905.
”第二学年では、細菌学の授業が加わり、細菌の形態は、すべて幻燈で見せることになっていた。一段落すんで、まだ放課の時間にならぬとき、時事の画片を映して見せた。むろん、日本がロシアと戦って勝っている場面ばかりであった。ところが、ひょっこり、中国人がそのなかにまじって現れた。ロシア軍のスパイを働かせたかどで、日本軍に捕らわれて銃殺される場面であった。取り囲んで見物している群集も中国人であり、教室の中には、まだひとり、私もいた。
「万歳！」彼らは、みな手を叩いて歓声をあげた。
この歓声は、いつも一枚映すたびにあがったものだが、私にとっては、このときの歓声は、特別に耳を刺した。”
This story is used as subtext of history in Japanese highschools,of which I too read back in the day.
It tells us Japanese insensitivity to pains of our neighbors that lead to the way to the war of aggression.
"Dr Fujino"has been the standarized discourse of our model China view and a stone of stumbling
to our nationalism.
Now,with this in your mind,read
this from RONZA May 2008,what Li says in the discussion with Sai Youichi
”「靖国」を撮る契機となったエピソードがいくつかあるんです。契機というかショックだったことなのですが。まずひとつは９７年に開催された「南京大虐殺６０年国際シンポジウム」です。旧日本軍が作った宣伝映画「南京」が上映されていました。南京入城式、国家掲揚式で日の丸が掲げられ、国歌が流れるというシーンにさしかかったときです。会場に信じられない音が響き渡ったんです、一瞬、機関銃の音かと耳を疑うような音でした。熱烈な拍手。信じられないかった。知らないうちに身体が震えていました。”
Li is repeating this experience in all interviews I can get.
Now skeptics inside me wonders whether this too identical experience really a coincidence. Anyway when episode like this spoken,ordinary Japanese would cease to criticize him.
Li goes on to say ths in RONZA (and other)interview.
”このシンポジウムは知識人や研究者だけではない、ひらかれた交歓の場でした。会場にいたのはスーツを着た男性や学生、女性、どこにでもいそうな、ごく一般の人たちばかりです。こうした人たちが、拍手喝采を送る。このときから、靖国は単なる右翼的な問題ではないかもしれない、と思うようになりました."
But like I posted above,the one held in 1997 was organized by liberals and not in Kudan Kaikan(he mentioned the precise place in EIGA HIHO interview)and the symposium held last year in Kudan kaikan did indeed show the very WW2prop movie,but this was a meeting of far right wingers,hardly an ordinary ciizen.
My feeling of somewhat out of palce with Li is he thinks the core of Yasukuni isuue is the existence of emperor,of which is a matter of debate,however he fails to mention in the interview the continuing absence of the emperor from Yasukuni ever since the controvertial enshrine of war criminals in 1975.How was this being trsted in the film?
My feeling after reading interviews is that Li has been concentrated in trainspotting freaks in the shrine,while totally neglect the history war that went on continuously for the last ten years out side of the shrine.Which is certainly one way of approaching the subject.
I can't wait seeing "YASUKUNI",but I've already have a feeling Li is focusing too much on a hole but not the whole donut.
Aceface.
P.S
Needless to say,as you already know this is from a Japanese guy with conservative political tendency.So I take you would read it with a grain of salt as always.
How I change my mind after watching the doc interest me and that's part of the reason why I posted series of negactive comments on the film I haven't even seen,so that I can read afterwards and get embarrass.
I've read some of the Li interviews in Japanese and you're right, the Kudan Kaikan event does come up. In the link I posted earlier, about 7 lines up from section 3 is written 「自由主義史観」研究会は、7月31日、東京・九段会館で「20世紀最大のウソ『南京大虐殺』にとどめをさす」と題した講演会とシンポジウムを開催した。そこで、東中野修道氏は「中国人の死者数は最大でも15000人と推定」し、藤岡信勝氏は「死者の大部分は中国の正規兵であり、民間人の虐殺はなかった」と主張した。 Which event is that?
If you find out the truth about the event (or lack of) -- you can be the first to write an article about it.
Kudan Kaikan is where I saw Nakata's Kaidan (hence my lame-o "Kaidan at Kudan Kaikan" title). Nice teikan youshiki. Noticed it was right across from Yasukuni -- didn't know it was linked but later read it was originally the gunjin kaikan and part of the 2.26 jiken.
Anyyywayy...how about that Nippon Connection?!
Sorry for being KY and all.But I received the call from Kudan Kaikan about my question this afternoon.
And the answer was;
"There is no record of symposium dedicated for Nanjing massacre held in Kudan Kaikan in the fiscal year of 1997.There is also no record of the wartime propaganda film "Nanjing"was shown in Kudan Kaikan in 1997."
However Li is repeating again in the interview of April 19th issue of 図書新聞、the experience of watching Nanjing propaganda film at the Nanjing massacre symposium held in 1997 was the prime motivation of the production of "YASUKUNI".
Li is now underfire for not telling the full disclosure of his film production to Kariya Naoji,the swordsmiths who forged Yasukuni sword,when neotiating for the interview.Kariya had agreed for the interview since he was told from Li that the film is about Japanese sword and partially funded by Cultural Agensy related organization,both are true to some extent.However,Kariya wasn't aware of his interview would be edited into Yasukuni controversy related documentary.Li has declined this and claimed Kariya is under pressure from LDP politicians and changed his mind.
Yasukuni shrine has now formally protesting Li and Argo production that Li and the crew had not gained permission of film shooting through out the ten years of filming in the estate of Yasukuni shrine.
There are multiple errors being
pointed by critics regarding the content of the film.
1)Japanese sword is not the holy artifact of Yasukuni shrine as it was said in the film subtitle,but devine sword(a sword like blade forged as relic)and mirror is,which is the standard relic of Shinto shrines.
2)Kariya is no longer working for Yasukuni shrine and now living in Kouchi pref.Hence there are no Yasukuni swords being forged at present,which is against the narrative of the documentary.
Perhaps all these Uyoku fiasco may have been a gift in diguise since there are armies of Japanese intellectuals on the side of Li now.And it seems to be the united fromt in now chose to attack LDP politicians who questioned the legitimacy of funding to the film by Cultural Agency related organization,instead of theaters that rejected filming and anonimous uyoku who actually made the threat.
Anyway,now I have zero credible on Li Yang.
Aceface.
Well that's a bit of a bombshell, especially if the event was the impetus for the whole thing. Will this fact be used in upcoming articles or NHK news?
Re: Kariya Naoji, I don't think a documentary filmmaker has an obligation to tell each person who appears in the film exactly how and what context their footage will be used in as long as it doesn't falsly represent them as a person (which it doesn't). Documentaries are created in the editing room. And as far as I remember the film states that Kariya was the last 刀匠 at Yasukuni, so the fact that he retired after the film was completed isn't any kind of subterfuge, or is Li stating in interviews that swords are still being made there?
Are you going to go to one of the specially arranged uyoku screenings? I'd like to hear a report on that.
Slightly above average documentary with dubious impetus getting stratospheric free publicity.
"I don't think a documentary filmmaker has an obligation to tell each person who appears in the film exactly how and what context their footage will be used in as long as it doesn't falsly represent them as a person (which it doesn't). Documentaries are created in the editing room. "
See,that's the point.
Last January,Tokyo High Court made a judgement over lawsuit on NHK ETV Special covering International People's Tribunal on War-time sexual slavery.
And the judgement was "NHK has betrayed the civic group organized the tribunal by editing the conclusion the way they didn't wanted to be,thus violationg ”the right of expectation期待権".
NHK is now appealing to the supreme court.
But in this NHK case,the editing was due in the form of cutting the scene of court judgement (Hirohito Guilty!)and adding the interview of Historian Hata Ikuhiko,an academic with opposing view to the judgement who has been hearing the tribunal all along.And this,I thought within the freedom guaranteed by the editorial right,whether you'd agree with the conclusion or not.
(Ofcourse editorial right was said to be threatened from completely different angle,but still)
So you'd understand the this 期待権 issue is a hot potatoe in J-TV/documentary world.
Now in the case of "YASUKUNI",According to the reports of Mainichi/Yomiuri/Sankei,Kariya never even heard about the whole picture,but simply making documentary on Japanese sword and Yasukuni sword.
At first,I thought this was plain joke,since you can easily imagine the consequence and being swordsmith at Yasukuni shrine probably won't make you a liberal.
So I just thought Kariya is plain lying and Li,who claim Kariya knew the whole story and agreed inspite of,was the truth.
However,certain things I never knew before I start doing this small research,but the English translated picture book of Yasukuni sword came out two years ago,and attracted attention of the enthusiast from abroad.And the way I heard from expert at the National Museum,the Japanese sword fandom has now shifted to overseas and somehow,China became the largest manufacture of Japanese sword(No concrete paper to back this up,Just what this guy thinks and says,anyway UK government had banned the import of replicas of Japanese sword recently and most of them are indeed from China.I myself saw hundereds of them in souvenir shop in Mongolia,claiming it's the relic from the old battelfield of Nomonhan.
So,Chinese director coming to swordsmiths and making sword doc is not so surreal as I expected to be.With the word "budgeted from Japanese government"would definilty sound legitimate.
And considering Kariya's age(90)and former occupaton,it's hard not to believe he would only agree to cooperate,if the film is about sword and sword only.
And ofcourse,the info I gained from Kudan Kaikan had strengthened my doubt over Li's credibility.
Why I meant to say Uyoku intrusion is a gift in disguise is this.
With these situation,either Kariya or Yasukuni Shrine can always file law suits and count on court would consider the violation of 期待権,thus sustain screening until the case settles.At least Inada would think as I do since she's also a barrister.
But the current nationwide attention would force the Shrine/LDP/90 years old Kariya to suspend these moves.And that's the reason why,Li and Argo pictures are trying to shift the argument from the Uyoku enforcer and hesitant theaters(of which Argo pictures has to make peace at one point for the future picture sales)to unconfirmed political pressure coming from politicians.
BTW,If you want more on this,there's interesting discussion over April 22nd edition of weekly SPA! magazine between critic Tsubouchi Yuzo(author of the book"Yasukuni" and Fukuda Kazuya(author of the biography of Hirohito).I snatched some of the insight from there.
OK,now I'm Yasukuni'd out.
aceface
So you'd understand the this 期待権 issue is a hot potatoe in J-TV/documentary world.
Very interesting. 期待権 -- my new word for the day. I see the NHK documentary case (from 2001 just being resolved now?) is mentioned in J-Wikipedia entry. Is there a good article/essay about this where Japanese documentarians give their opinions, do you know?
Yes,the 2001 case being resolved in 2007 and that Japanese judical system.It shouldn't be a suprise since Asahara Shokou sentenced maximum penalty only after the series of trials that took more than 11 years...
This is relatively good to my eyes regarding 期待権 I can find on internet.
http://plaza.rakuten.co.jp/izumatsu/4006
Needless to say,I think applying 期待権 is rediculous and would practically kill Japanese documentary. I also think Li has every right to use the footage as he wish without telling the swordsmith under what context it would be used,but if Li was not telling Kariya that the interview will be used for a film mostly featuring Yasukuni controversy,but narely a sword craftmanship,than that is against basic journalistic ethics.
Li has made clear about Kariya was informed in advanced and agreed to the aappearance in the film on this week's AERA interview,but I don't believe that.
BTW,Ang Lee's "The Wedding Bunquet"
starring Mai Chin was shown on NHK-BS last night and I was watching that as I typed yeserday's long post.
May Chin is also a main cast in
"YASUKUNI" along with Kariya,for she is now a member of Taiwanese Legistrative Yuan(Diet),高金素梅.http://ja.wikipedia.org/wiki/%E9%AB%98%E9%87%91%E7%B4%A0%E6%A2%85
I was a member briefly from 1993 to '95 of 台湾原住民族との交流会,a civic group founded by two aboriginal Taiwanese studying in Meiji University,because I was studying Pacific Anthropology.
So I know one or two things about local indentity politics and do have knowledge of the reputation of May Chin among the aboriginals.
And that wasn't very nice and I've got a lot to say about her and surrounding political situation of Taiwan,but then again,this is a film blog and I already hijacked much too long.
Aceface
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