From: "Frank Conlon" <conlon@U.WASHINGTON.EDU>
To: <H-ASIA@H-NET.MSU.EDU>
Sent: Tuesday, July 05, 2011 8:03 PM
Subject: H-ASIA: LEC Calligraphy in East Asian Cinema, Kyoto, Jul 13
> H-ASIA
> July 5, 2011
>
> Lecture: Abe Markus Nornes on Calligraphy in East Asian Cinema,
> Italian School of East Asian Studies, Kyoto, July 13, 2011
>
> (x-post H-Japan)
> *****************************************************************
> From: Dick Stegewerns <dick.stegewerns@xs4all.nl>
>
> Dear colleagues,
>
> It is my pleasure to inform you about the July meeting of the Kansai
> Modern Japan Group. The lecture is in English, the comments and discussion
> either in English or Japanese, all interested are welcome.
>
> Here are the data:
>
> SPEAKER: Ab Markus Nornes (University of Michigan)
> TITLE: Calligraphy in East Asian Cinema
> DATE: Wednesday 13 July
> TIME: 18:30
> PLACE: ISEAS office, Nihon Itaria Kyoto Kaikan, 4th floor (075-751-8132)
> Yoshida Ushinomiya-cho 4, Sakyo-ku, Kyoto
>
>
> The ISEAS (Italian School of East Asian Studies) premises are on the 4th
> floor of the Nihon Itaria Kyoto Kaikan. The Nihon Itaria Kyoto Kaikan is
> in the immediate vicinity of Kyoto University, near the crossing of
> Higashi-Oji and Higashi-Ichijo. For reasons of academic isolation there is
> no train station that will get you close to Kyoto University, but the
> Keihan line will get you into walking distance (either Marutamachi or
> Demachi-Yanagi station). Kyoto City Bus no.31, 201, 203 and 206, however,
> will get you almost to the doorstep of ISEAS. You should get off the bus
> at Kyodai Seimon-mae. The Nihon Itaria Kyoto Kaikan is on the north-west
> corner of the crossing, on the north side of Higashi-Ichijo.
>
>
> This is our last meeting before the summer break. Our next meeting will be
> in mid-September in Osaka.
>
> Those willing to present at one of our monthly meetings, please send an
> abstract of the presentation you propose to dick.stegewerns@xs4all.nl
>
> I look forward to welcoming many of you next week.
>
> Best regards,
>
> Dick Stegewerns
> Kyoto University & Oslo University
>
> <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
>
> ABSTRACT:
>
> Calligraphy in East Asian Cinema
>
> Western avant-garde film theorists and practitioners, such as Sergei
> Eisenstein and Alexander Astruc, have famously connected cinema with the
> art of handwriting. The former described cinematic image-making as a
> combination of shots that, like Asian ideograms, are both depictive, or
> figural, and intellectual; the latter equated the film camera to a pen,
> the camera-stylo. Yet their work has remained as suggestive as it is
> isolated: it has not prompted systematic studies of calligraphy in film
> history in the same way attention to calligraphy has influenced other
> scholarly endeavors, including the history of letter- and book-writing,
> philology, literary biography, typography and the avant-garde, or even
> graffiti and popular culture. My own fascinations, admittedly informed by
> my work and interest in Asian cinema, stem from the complex phenomenology
> of calligraphy in films. We see how the cinematic styles are often
> re-enacted in calligraphic style. Calligraphy creates meaning both
> linguistically and paralinguistically, by virtue of its semantics and the
> semiotic/material qualities of color, line and even animation. Indeed,
> calligraphic script lends itself to the art of cinema literally, the
> "writing of movement" by virtue of the "liveness" and the suggestion of
> "movement." Furthermore, the ontology of the calligraph being the product
> of an individual's brush and expressing both the being of the artist and
> the frozen moment of production seems roughly analogous to the ways in
> which film theorists have considered the indexical qualities of the
> photo-chemical image. The pasting of objects' reflections on film is akin
> to a form of writing. All this helps explain the persistence and ubiquity
> of the written script in East Asian cinema, where text has a different
> status than cinema in the rest of the world.
>
>
> Ab Markus Nornes is Professor of Asian Cinema at the University of
> Michigan. His latest book is A Research Guide to Japanese Cinema Studies
> (UM Center for Japanese Studies), which was co-written with Aaron Gerow.
> His previous books include Cinema Babel: Translating Global Cinema, Forest
> of Pressure: Ogawa Shinsuke and Postwar Japanese Documentary Film, and
> Japanese Documentary Film: From the Meiji Era to Hiroshima (all Minnesota
> UP).
>
> ******************************************************************
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