09:50-10:00

Opening remarks

10:00-11:00

Alastair Phillips (University of Warwick)‘A Matter of Space: Paris in the Cinema – A Journey Throughthe French New Wave’

11:00-11:45

Ran Ma (Nagoya University)‘A Landscape Over There: Rethinking Translocality in
Zhang Lu’s Border Crossing Films’
Lunch

01:00-02:00

Akiko Sugawa-Shimada (Yokohama National University)

02:00-02:45

Shota Ogawa (Nagoya University)‘Border-envy: Positioning Cine Qua Non (1989-2010) in
East Asia’s Transnational Cinemascape’

Interplay between Fantasy and Reality: “2.5-dimensional Culture”
and Audiences’ Participation in JapanBreak

03:00-04:00

Tiago de Luca (University of Warwick)

04:00-04:45

Woojeong Joo (Nagoya University)‘A Matter of Time: Slow Cinema, Aesthetics and Spectatorship’‘Shitamachi Space and Slow Time in Ozu Yasujiro’s
The Only Son/Hitori Musuko (1936)’
Break

05:00-06:00

Roundtable

06:00 -Closing remarks

Chair: Hideaki Fujiki (Nagoya University)

Brief Biographies

Alastair Phillips
Alastair Phillips is a Reader in Film Studies in the Department of Film and Television Studies at the University of Warwick. He has published widely in the fields of international film history, culture and aesthetics with special emphasis onFrench and Japanese filmmaking; histories of exile and emigration within Europe and between Europe and Hollywood
and the representation of place and landscape in historical and contemporary world cinemas. He is an editor of Screen.

Ran MaMA Ran teaches at the Global-30 “Japan-in-Asia” Cultural Studies Program, Graduate School of Humanities, Nagoya
University. Her research interests include Asian independent cinemas and film festival studies, for which topics she has
published several journal articles and book chapters, including recent contributions to Chinese Film Festivals: Sites ofTranslation (2017), and Taiwan Cinema: International Reception and Social Change (2017). She is currently working ona book project titled Independent Filmmaking across Borders in Contemporary Asia.

Akiko Sugawa-Shimada
Akiko Sugawa-Shimada, PhD, is a professor in the Graduate School of Urban Innovation at Yokohama National University. She is the author of numerous books and articles in English and Japanese on anime, manga, and Cultural Studies, including Shōjo to mahō: garu hiro wa ikani juyō saretanoka (2013, winner of the 2014 Japan Society of Animation Studies Award), chapters in the books Japanese Animation: East Asian Perspectives (2013), and Teaching Japanese PopularCulture (2016), Japanese Popular Culture and Contents Tourism (2016), and as co-author (with Philip Seaton, Takayoshi
Yamamura and Kyungjae Jang) Contents Tourism in Japan (2017). Her website is: akikosugawa.2-d.jp

Shota Ogawa
Shota Ogawa studies national cinema’s vicissitudes, particularly those marked by the presence of Resident Koreans (colonial immigrants and their descendents) in Japan’s film industry. He has published in Screen, Japan Focus, and Journal ofJapanese and Korean Cinema, and is currently completing a book manuscript tentatively titled Bordering Japanese Cinema: Korean Migrants in (Post-)Imperial Filmscapes. His new project investigates amateur films in the Japanese empire.

Tiago de Luca
Tiago de Luca is Assistant Professor in Film Studies at the University of Warwick. He is the author of Realism of the Senses: The Experience of Physical Reality (2014), the editor (with Nuno Barradas Jorge) of Slow Cinema (2016), and the series editor (with Lúcia Nagib) of Film Thinks: How Cinema Inspires Writers and Thinkers (I. B. Tauris).

Woojeong Joo
Woojeong JOO is an assistant professor at Graduate School of Humanities, Nagoya University, Japan. His most recent
publication is The Cinema of Ozu Yasujiro: Histories of the Everyday (Edinburgh University Press, 2017), where the author re-examines the works of the renowned Japanese director focusing on the socio-historical analysis of modern everyday life in Japan. His current research inquires into the early history of sound and visual media in East Asia, with an emphasis on the development of talkie films in Japan and colonial Korea in terms of technology, culture and politics.

Hideaki Fujiki
Hideaki Fujiki is professor in cinema studies and currently the director of Japan-in-Asia Cultural Research Center at Nagoya University. His publications include Making Personas: Transnational Film Stardom in Modern Japan (Harvard University Asia Center, 2013) and The Japanese Cinema Book co-edited with Alastair Phillips (BFI, forthcoming). His bookon cinema audiences as social subjects in history is forthcoming by University of Nagoya Press. He is also completing abook on cinema and ecology.

[ABSTRACTS]
Nagoya-Warwick Cinema Studies Workshop

Mediating Time and Space: Trans/national Cinema, Animation and Beyond
Time and space are integral elements of both cinema and animation and their intimate and flexible conjugation helps
define the very nature of all audiovisual moving image media. The moving image not only configures the material flowof time and space, it also helps shape the ways in which we may actually imagine time and space to exist beyond theordinary boundaries between reality and fantasy, between fiction and documentary and between the past and the present.
In this sense, the mediation of time and space necessarily involves the continuous formation of history and geopolitics
with specific consequences for our understanding of important questions of national identity and transnationality. Thisworkshop, a unique collaboration between the University of Nagoya and the University of Warwick, will thus build on
existing scholarship to explore further how time and space may be said to be specifically mediated within the moving
image through a series of unique case-studies related to the nation, the transnational and other forms of socio-historicalborder crossing across the globe and within global history.

Alastair Phillips
A Matter of Space: Paris in the Cinema – A Journey Through the French New Wave
As a recorded audiovisual medium, cinema is especially suited to the representation of place and movement through thesimultaneous registration of space and time. This paper will examine the implications of this proposition in relation to one
particular cultural moment, the emergence of the French New Wave in the early 1960s, in order to introduce a range ofcurrent disciplinary and inter-disciplinary debates about film’s engagement with urban space, place, and mobility. Afterlooking more generally at the representation of the French capital on film, I will concentrate on one particular film text,
Agnès Varda’s Cléo de 5 à 7 (1962), in order to understand how travel, location and the urban everyday may be especiallyconfigured as fundamentally significant cinematic concepts within this key moment of European film history.
Ran MaA Landscape Over There: Rethinking Translocality in Zhang Lu’s Border Crossing Films
This presentation examines three border-crossing films by the Korean-Chinese (chaoxianzu) filmmaker Zhang Lu,
namely Desert Dreams (2008), Dooman River (2010), and Scenery (2013). Using the conceptual framework oftranslocality and polylocality, this study first explores how Zhang, as a translocal auteur, leveraged his multi-layeredidentities to engage the global film festival network. The cinematic trope of border crossing is emphasized. Not only has
Zhang reinvented the border as a new scale to scrutinize the translocal movement of deterritorialized subjects anddiasporic peoples, he also, through his place-based methodology, sheds light on the significance of place in identity
formation and further interrogates the power geometry of globalization. As such, Zhang’s translocal filmmaking
intersects and challenges us to rethink both Chinese independent cinema and Korean diaspora films.

Akiko Sugawa-ShimadaInterplay between Fantasy and Reality: "2.5-dimensional Culture" and Audiences' Participation in Japan
“2.5-dimensional Culture” is an emerging cultural phenomenon in which audiences enjoy an interplay between fictional
worlds (two-dimensional narratives of anime, manga, and games) and the real world (the three-dimensional space).
2.5-dimensional cultural performances include 2.5-dimensional theatrical performances, Cosplay, anime characters’
concerts by voice actors, Hatsune Miku, and “cheering along” version of anime movies (ōenjōei). This talk will explore
the emerging 2.5-dimensional culture in Japan, and examine how audiences’ active participation in the theaters, events,and cyber spaces serves to generate this cultural phenomenon by focusing on Musical Prince of Tennis (2003-ongoing)and ōenjōei of King of Prism (2016-ongoing).
Shota Ogawa
Border-envy: Positioning Cine Qua Non (1989-2010) in East Asia’s Transnational Cinemascape
Independent “micro-studio” Cine Qua Non declared bankruptcy with the Tokyo District Court in January 2010 with awhopping $43m debt, after its two-decade run as an industry disrupter, a promoter of “multicultural dramas,” a patronof diasporic Korean talents, and above all, a purveyor of Hallyu in Japan. This paper reexamines Cine Qua Non’slegacy, less as a poster child for borderless media flows than as a contingent product of East Asia’s borderful reality.
Much has been written about the productive role the 38 Parallel has played in providing the likes of Park Chan-wook,
Kang Je-gyu, and Kim Tae-gyun a life-size melodramatic landscape, but my study reveals an additional dimension thatemerges when these “border dramas” cross over to Japan, a condition that I call “border envy.”
Tiago de Luca
A Matter of Time: Slow Cinema, Aesthetics and SpectatorshipThis talk will address the emergence of slow cinema as a concept in Anglophone critical discourses over the past
decade. The talk will first provide an overview of how the term came into existence in film criticism and the debates it
generated concerning questions of aesthetic merit and the use value of spectatorship. It will then move on to considerthe specific stylistic features and auteurist pantheon with which slow cinema has been variously associated. Finally, thetalk will explore the circuits of transnationalism within which slow cinema often traverses, and propose that it sits at thecrossroads of two social spheres and aesthetic projects as respectively associated with the international film festival andthe art gallery.
Woojeong Joo
Shitamachi Space and Slow Time in Ozu Yasujiro’s The Only Son/Hitori Musuko (1936)
In this presentation, I will discuss the characteristic uses of time and space appearing in Ozu Yasujiro’s films, and explore
the ways how they can be interpreted in connection with narrative, aesthetics, and thematic issues. Regarding space, I will
look into Ozu’s typical prewar urban space of shitamachi, in relation to its class-specific nature and communal spatiality,
and compare its idealism with that of traditional sites prevailing in Ozu’s postwar films. I will also reconsider thewidely-held view about Ozu that his film is ‘slow’, and discuss broader role of that peculiar temporality, especially inarticulating spatial terms, than as a simple aesthetic style. These two interrelated aspects will be examined in the film, The
Only Son/Hitori Musuko (1936), which not only can be situated as a pinnacle of Ozu’s prewar shitamachi films, but also
anticipates the transformation in his postwar films such as Tokyo Story/Tokyo monogatari (1953).