Translated into Spanish as: "El Rastro del Cine Documental Japonés de Posguerra: A Tientas e... more Translated into Spanish as: "El Rastro del Cine Documental Japonés de Posguerra: A Tientas en la Oscuridad," El Cine de los Mil Años: Una aproximación Histôrica y Estéticá al Cine Documental Japonés (1945-2005) (Pamplona: Punto de Vista, 2006), 56-88.An historiography of left-wing documentary film practice and theory, focussing on the early 1970s and asking "What happened?"Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/90901/1/Positions.pdfhttp://deepblue.lib.umich.edu/bitstream/2027.42/90901/2/Positions.Spanish.pd
These are questions that Aaron Gerow and A. M. Nornes drafted for Adachi Masao, as he underwent e... more These are questions that Aaron Gerow and A. M. Nornes drafted for Adachi Masao, as he underwent extradition hearings in a Lebanese prison. The questions were relayed to him by a friend. He answered them in English, but the prison officials refused to release the response. So Eiga Geijutsu's editors made the unusual move of publishing only the questions. He answered them a second time from Japanese prison and these were published in two separate issues: “Adachi Masao e no 20 shitsumon e no kaitô—1,” [Adachi Masao’s Reply to His 20 Questions—Part 1], cowritten with Aaron Gerow, Eiga Geijutsu 395 (Spring 2001): 126-130. “Adachi Masao e no 20 shitsumon e no kaitô—2,” [Adachi Masao’s Reply to His 20 Questions—Part 2], cowritten with Aaron Gerow, Eiga Geijutsu 396 (Summer 2001): 174-180.http://deepblue.lib.umich.edu/bitstream/2027.42/90976/1/Adachi Questions.pd
This essay was reprinted in the second edition of The Translation Studies Reader, edited by Lawre... more This essay was reprinted in the second edition of The Translation Studies Reader, edited by Lawrence Venuti. It contains small, but extremely important revisions and is the preferred version.Inspired by amateur anime subtitling collectives, this essay looks at the history of subtitling to critique conventional approaches and propose an "abusive" approach from a profoundly different notion of fidelity.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/90898/1/AbusiveFQ.pdfhttp://deepblue.lib.umich.edu/bitstream/2027.42/90898/2/AbusiveReader.pdfhttp://deepblue.lib.umich.edu/bitstream/2027.42/90898/3/AbusiveJ.pdfhttp://deepblue.lib.umich.edu/bitstream/2027.42/90898/4/AbusiveG.pd
Film review of Edward Yang's The Terrorizer.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstr... more Film review of Edward Yang's The Terrorizer.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/90931/1/Terrorizer.Yang.pd
The first and last thing to say about the Taiwan International Documentary Film Festival is that ... more The first and last thing to say about the Taiwan International Documentary Film Festival is that the audiences were truly impressive. Allow me to explain in a somewhat roundabout way with a story. I attended the Taiwan International Documentary Film Festival having had the honor of co-organizing a retrospective of films by the Japanese master Ogawa Shinsuke. The occasion to revisit these films brought me back to my first encounter with the director. The setting was the 1989 Hawai'i International Film Festival, which was showing Ogawa's Sundial Carved With a Thousand Years of Notches (Magino monogatari: sennen kizami no hidokei, 1987). This was Ogawa's last major film before his untimely death in 1992. It is also one of his finest, most compelling efforts, despite the 4 1/2 hour running time. I was Ogawa's attendant during his stay in Honolulu. The evening of his first screening, I accompanied him to the after-film discussion. Word had come down that
❍ Reprinted in Screening the Past 7 (July 1999) (http://www.latrobe.edu.au/www/screeningthepast/f... more ❍ Reprinted in Screening the Past 7 (July 1999) (http://www.latrobe.edu.au/www/screeningthepast/firstrelease/fr0799/MNfr7c.htm). ❍ Reprinted in Breaking Boundaries—From Grierson to Docu-Soap, ed. John Izod and Richard Kilborn, with Matthew Hibberd (Luton: University of Luton Press, 2000), 59-69. ❍ Reprinted in Critical Readings in Translation Studies, ed. Mona Baker (London: Routledge, 2009). ❍ Reprinted in Translation Studies: Critical Concepts in Linguistics, Vol. 1, ed. Mona Baker (London: Routledge, 2009). ❍ Reprinted in The Grierson Effect, ed. Deane Williams and Zoe Druick, forthcoming.
While documentary has a decidedly peripheral position in most national cinemas across the globe, ... more While documentary has a decidedly peripheral position in most national cinemas across the globe, the form has enjoyed relative prestige in the Japanese film world. Initially, this was a peculiar side benefit of global warfare in the 1930S and 1940S. However, even in the postwar era, documentary's profile was never lost on the film conununity. Directors like Imamura Shohei, Teshigawara Hiroshi, Hani Susumu, Yoshida Yoshishige, and Oshima Nagisa moved easily between flction and nonfiction. Written histories, in both Japanese and English, never fail to include consideration of the most important documentarists: Kamei Fumio, Tsuchimoto Noriaki, Ogawa Shinsuke, and Hara Kazuo. With. the deaths of Ogawa and Kamei, as well as the relative inactivity of Hani and Tsuchimoto, the younger Hara Kazuo has taken the lead in pushing the Japanese documentary into new, unmapped territories. Hara's filmography reveals a 'Considerable variety of subject matter-a
wrote memorably about his visits to Yunfest in Yunnan and the China Documentary Festival in Songz... more wrote memorably about his visits to Yunfest in Yunnan and the China Documentary Festival in Songzhuang in "Bulldozers, Bibles, and Very Sharp Knives: The Chinese Independent Documentary Scene, " (Film Quarterly 63, no.1, 2009). This year, he happened to be in Songzhuang again for BIFF 2013, and has kindly supplied us with his report, which follows below with a gallery of photos. Rambunctious Beyond the Sixth Ring A. M. Nornes
Translated into Spanish as: "El Rastro del Cine Documental Japonés de Posguerra: A Tientas e... more Translated into Spanish as: "El Rastro del Cine Documental Japonés de Posguerra: A Tientas en la Oscuridad," El Cine de los Mil Años: Una aproximación Histôrica y Estéticá al Cine Documental Japonés (1945-2005) (Pamplona: Punto de Vista, 2006), 56-88.An historiography of left-wing documentary film practice and theory, focussing on the early 1970s and asking "What happened?"Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/90901/1/Positions.pdfhttp://deepblue.lib.umich.edu/bitstream/2027.42/90901/2/Positions.Spanish.pd
These are questions that Aaron Gerow and A. M. Nornes drafted for Adachi Masao, as he underwent e... more These are questions that Aaron Gerow and A. M. Nornes drafted for Adachi Masao, as he underwent extradition hearings in a Lebanese prison. The questions were relayed to him by a friend. He answered them in English, but the prison officials refused to release the response. So Eiga Geijutsu's editors made the unusual move of publishing only the questions. He answered them a second time from Japanese prison and these were published in two separate issues: “Adachi Masao e no 20 shitsumon e no kaitô—1,” [Adachi Masao’s Reply to His 20 Questions—Part 1], cowritten with Aaron Gerow, Eiga Geijutsu 395 (Spring 2001): 126-130. “Adachi Masao e no 20 shitsumon e no kaitô—2,” [Adachi Masao’s Reply to His 20 Questions—Part 2], cowritten with Aaron Gerow, Eiga Geijutsu 396 (Summer 2001): 174-180.http://deepblue.lib.umich.edu/bitstream/2027.42/90976/1/Adachi Questions.pd
This essay was reprinted in the second edition of The Translation Studies Reader, edited by Lawre... more This essay was reprinted in the second edition of The Translation Studies Reader, edited by Lawrence Venuti. It contains small, but extremely important revisions and is the preferred version.Inspired by amateur anime subtitling collectives, this essay looks at the history of subtitling to critique conventional approaches and propose an "abusive" approach from a profoundly different notion of fidelity.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/90898/1/AbusiveFQ.pdfhttp://deepblue.lib.umich.edu/bitstream/2027.42/90898/2/AbusiveReader.pdfhttp://deepblue.lib.umich.edu/bitstream/2027.42/90898/3/AbusiveJ.pdfhttp://deepblue.lib.umich.edu/bitstream/2027.42/90898/4/AbusiveG.pd
Film review of Edward Yang's The Terrorizer.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstr... more Film review of Edward Yang's The Terrorizer.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/90931/1/Terrorizer.Yang.pd
The first and last thing to say about the Taiwan International Documentary Film Festival is that ... more The first and last thing to say about the Taiwan International Documentary Film Festival is that the audiences were truly impressive. Allow me to explain in a somewhat roundabout way with a story. I attended the Taiwan International Documentary Film Festival having had the honor of co-organizing a retrospective of films by the Japanese master Ogawa Shinsuke. The occasion to revisit these films brought me back to my first encounter with the director. The setting was the 1989 Hawai'i International Film Festival, which was showing Ogawa's Sundial Carved With a Thousand Years of Notches (Magino monogatari: sennen kizami no hidokei, 1987). This was Ogawa's last major film before his untimely death in 1992. It is also one of his finest, most compelling efforts, despite the 4 1/2 hour running time. I was Ogawa's attendant during his stay in Honolulu. The evening of his first screening, I accompanied him to the after-film discussion. Word had come down that
❍ Reprinted in Screening the Past 7 (July 1999) (http://www.latrobe.edu.au/www/screeningthepast/f... more ❍ Reprinted in Screening the Past 7 (July 1999) (http://www.latrobe.edu.au/www/screeningthepast/firstrelease/fr0799/MNfr7c.htm). ❍ Reprinted in Breaking Boundaries—From Grierson to Docu-Soap, ed. John Izod and Richard Kilborn, with Matthew Hibberd (Luton: University of Luton Press, 2000), 59-69. ❍ Reprinted in Critical Readings in Translation Studies, ed. Mona Baker (London: Routledge, 2009). ❍ Reprinted in Translation Studies: Critical Concepts in Linguistics, Vol. 1, ed. Mona Baker (London: Routledge, 2009). ❍ Reprinted in The Grierson Effect, ed. Deane Williams and Zoe Druick, forthcoming.
While documentary has a decidedly peripheral position in most national cinemas across the globe, ... more While documentary has a decidedly peripheral position in most national cinemas across the globe, the form has enjoyed relative prestige in the Japanese film world. Initially, this was a peculiar side benefit of global warfare in the 1930S and 1940S. However, even in the postwar era, documentary's profile was never lost on the film conununity. Directors like Imamura Shohei, Teshigawara Hiroshi, Hani Susumu, Yoshida Yoshishige, and Oshima Nagisa moved easily between flction and nonfiction. Written histories, in both Japanese and English, never fail to include consideration of the most important documentarists: Kamei Fumio, Tsuchimoto Noriaki, Ogawa Shinsuke, and Hara Kazuo. With. the deaths of Ogawa and Kamei, as well as the relative inactivity of Hani and Tsuchimoto, the younger Hara Kazuo has taken the lead in pushing the Japanese documentary into new, unmapped territories. Hara's filmography reveals a 'Considerable variety of subject matter-a
wrote memorably about his visits to Yunfest in Yunnan and the China Documentary Festival in Songz... more wrote memorably about his visits to Yunfest in Yunnan and the China Documentary Festival in Songzhuang in "Bulldozers, Bibles, and Very Sharp Knives: The Chinese Independent Documentary Scene, " (Film Quarterly 63, no.1, 2009). This year, he happened to be in Songzhuang again for BIFF 2013, and has kindly supplied us with his report, which follows below with a gallery of photos. Rambunctious Beyond the Sixth Ring A. M. Nornes
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