9:15 – 9:30  (room S250)

Opening remarks

9:30 - 11:30

Panel 1: 1927 (S354)

Diane Wei Lewis (University of Washington in St. Louis): Sensationalism and Leftwing Culture: A Prehistory of the Japanese Tendency Film

David Lewis (Université de Montréal): Japanese Cinema and Song Around 1927

Sean O’Reilly (Harvard University): Bakumatsu Boom: Pure Film Principles Meet Historical Revisionism in Sonnō jōi (1927)

Panel 2: 1995 (S250)

Alexander Jacoby (Oxford Brookes University): At a Distance: Koreeda’s Sense of Place and Time in Maborosi

Yuki Nakayama (University of Michigan): Too Dangerous for TV: Intersecting Media Histories and Subway Sarin Incident

1:00 - 3:00

Panel 3: 1995 (S250)

Odagiri Takushi (Duke University): Kawase’s Embracing and Mizumura’s Shishosetsu: Autobiography, Aesthetic Surface and Embodied Forms

Oliver Kühne (University of Tübingen): The “EVA (Shinseki Evangelion) Shock” in 1995: Socio-critical Implications of Transgressed Genre Conventions and Human-made Apocalypse

Markus Nornes (University of Michigan): Turning Points in Contemporary Documentary

Panel 4: 1962 (S354)

Julia Alekseyeva (Harvard University): Japanese Documentary in 1962: Story, History, Form

Ryan Cook (Harvard University) : Excavating Auteurism and Sayurism: Urayama Kirio’s Kyūpora no aru machi in 1962

Verina Gfader (University of Huddersfield): Talk Geometries: Towards Anime’s Sensorial Vocabularies

3:15 - 5:15

Panel 5 (pre-constituted): The Modern Nation State and the Media in Late 1920s Japan: Colonial Film, Imperial Film, and Images of Monarchs (1927) (S354)

Mitsuyo Wada-Marciano; chair/discussant (Carleton University)

Insil Yang (Iwate University): Formation of the Genre Known as “Colonial Korean Cinema” from the Japanese Empire’s Point of View

Mika Tomita (Ritsumeikan University) : Japanese Films and the Enthronement of the Showa Emperor, 1927-1928

Hikari Hori; organizer (Columbia University): Photographic Film: The Emperor’s Body in 1920s to 1930s Japan

Panel 6: 1973 (S250)

Paul Berry (Kansai Gaidai University): Belladona vs. Honey: Tension Points in 1973 Anime

Takafusa Hatori (Waseda University): Hasegawa Shin Series amid the Hegemonic Transition from Cinema to Television

Franz Prichard (UNC Charlotte): 1973: Degree Zero of Radical Media Critique in Japan

Alexander Zahlten (Harvard University): Single 8 and Mass Media: Shifting Media in 1973


9:00 - 11:00

Panel 7 (pre-constituted): The Coming of the (Digital) Age of Postmodernity in Japanese Visual Media (1995) (S250)

Dolores Martinez (Chair) (SOAS, London): Bodies of Future Memories

José Montaño (Universitat Pompeu Fabra, Barcelona; Waseda University): Kore’eda, Iwai and the Account of Japanese Cinema in the 90s

Artur Lozano (Universitat Autònoma de Barcelona): Exploration of the Potentialities of Conscience in a Globalized Capitalist Network

Laura Montero (Independent Researcher, London): The Crisis of the Self in Neon Genesis Evangelion

Antonio Loriguillo (Universitat Jaume I, Castelló): Surviving the Second Impact. The B-side of Anime in 1995

Discussant: Mitsuyo Wada-Marciano (Carleton University, Ottawa)

Panel 8: 1962 (S354)

Michael Raine (University of Western Ontario): “They say these days the copy is better than the original”: Media-mix and Reflexivity in Wakai kisetsu

Takuya Tsunoda (Yale University): Principle of Reversion: Discovering Japan and the Nouvelle Vague

Nakagawa Shigemi (Ritsumeikan University): The End of Women’s Literary Film: Naruse Mikio’s Hourouki (1962) and Imamura Shōhei’s Nippon Konchūki (1963)

Roland Domenig (Meiji Gakuin University): The Market of Flesh and the Rise of the Pink Film Genre

Rea Amit (Yale University): Drowning By Numbers: 1962/3, the Collapse of the Studio System in Aesthetic Terms

11:15 - 12:45

Panel 9 (pre-constituted): Japan’s Long 1939 - a transition from peace to war (S250)

Susanne Scherman (Meiji University): Naruse Mikio and 1939

Roger Macy (Independent Researcher): Don’t Miss the Bus

David George (Bates College): A Fond Face from which Past? Naruse’s Natsukashi no kao (1941) as Adaptation and Remake in a Time of Transition

Panel 10 (pre-constituted): On the Cusp of Change : Japan in 1936 (S354)

Johan Nordström (Waseda University): The Empire, Away and at Home: Propaganda and Education

Theodore F. Cook (William Paterson University of New Jersey): What Happened to “Peacetime Japan” 1936?

Esra-Gökçe Şahin (Harvard University): Nonsensical Humor of Acharaka Comedy in Prewar Japan

Sarah Frederick (Boston University): A Mother’s Song: Stella Dallas and Haha no kyoku Across Media in 1936

2:00 – 4:00

Roundtable Discussion: Concepts and Methods of Historiography in Research on Film and Moving Images from Japan (Belfer Study Room S020)

Aaron Gerow (Yale University)

Hikari Hori (Columbia University)

Diane Lewis (University of Washington in St. Louis)

Markus Nornes (University of Michigan)

Moderator: Alexander Zahlten (Harvard University)

4:10 - 5:00

Discussion of next Kinejapan iteration (Belfer Study Room S020)