...Ian Thomas Ash; Timothy A. Mousseau; Lisa Onaga Filmmaker Ian Thomas Ash and biologist Timothy A. Mousseau have orbited one another in the courses of their fieldwork in and around Fukushima, Japan, since 2011. One traces human stories; the other tracks signs of biological change in wildlife. Both...

...Yukiko Hanawa; Linda Hoaglund Copyright © 1997 by Duke University Press 1997 Interview with Christine Choy and Nancy Tong, Filmmakers (In the Name of the Emperor) Yukiko Hanawa and Linda Hoaglund In December 1937,invading Japanese troops stormed the city gates...

... art practices has been the exploration in 1990s independent film of the suppressed nonelite subjectivities in public housing. Some filmmakers took public housing to be a space separate from the commercial downtown, and they suggested that this space represents an ambivalent site of modernity in its...

... memories from the relatives of victims and provides hope for truth‐seeking. Collections of photographs, audio interviews, testimonies, and artifacts are utilized by both archivists and documentary filmmakers to forge claims toward restorative justice. And while the dominant discourse forces society...

...Qi Wang This article explores the visual representation of minority (especially queer) identities in the highly stylized and experimental documentaries of independent filmmakers Shi Tou and Cui Zi'en, two of the most prominent cultural figures in the Chinese queer community. My analysis focuses...

.... Kerner frames the discussion by noting that there are in effect two different types of “butoh film”; on the one hand, there are films that document, constituting a record of an event, and on the other hand, there are films that integrate butoh elements into the practice of filmmaking itself. Iimura's...

... these films present the talking head as a product of technical intervention by the director, or as a response of the documentary subject to the act of filmmaking. This does not mean that liveness has ceased to be important; rather, that it is understood to be a quality produced from the encounter of director...

...Miyo Inoue; Aaron Kerner In this interview the Japanese avant-garde filmmaker and scholar, Toshio Matsumoto, discusses his creative practice, as well as his ideas about the complexities of representing reality, memory, and time. He has numerous short experimental works to his credit, and four...

...Jan Christian Bernabe The article explores the archive imperative in the 1995 film Bontoc Eulogy by Filipino American photographer and filmmaker Marlon Fuentes. The archive imperative is a decolonizing aesthetic and political strategy that challenges American colonial visual regimes and knowledge...

...Richard I. Suchenski Although their work is most frequently discussed in relation to the “Indian New Wave” or within the more theoretically charged framework of the “avant-garde,” filmmakers Mani Kaul and Kumar Shahani have spent decades pursuing aesthetic projects whose parameters exceed...

...Diane Wei Lewis In the early 1920s, Japanese filmmakers increasingly adopted American-style production practices and strategies of representation. Resisting this trend, the Nikkatsu film company’s Mukōjima studio advocated multiple approaches to filmmaking, challenging the rhetoric of “purity...

..., they are characterized by the camera’s introspective gaze, a gaze directed toward the filmmaker herself. The films show various reflexive images of the director, such as her shadows, her reflections on a car window, and her images taken by her relative. This introspective (self-mirroring) style of Kawase’s documentaries...

...Ryan Canlas This article looks at the 1990 documentary Masakit sa mata ( Eyesores ) as an instance of Filipino filmmaking that, in the aftermath of Lino Brocka's socialist realist cinema, explores the modalities of a postmodernist documentary style. It argues that the film founds the idea...

... the 1980s and 1990s. This was the last installment in a biennial series that painstakingly covered the one-hundred-year history of nonfiction filmmaking in Japan.Previ- ous retrospectives confidently displayed a national heritage and its sure...

...Fan Popo; Bao Hongwei Love Your Films and Love Your Life: An Interview with Fan Popo Fan Popo and Bao Hongwei, with an introduction by Bao Hongwei Introduction Invited by the Institute for Screen Industries Research, the University of Nottingham, Chinese queer filmmaker and activist Fan Popo...

...Cui Zi'en This conference speech given by a famous queer Chinese filmmaker provocatively proposes that the vibrant culture of underground queer film festivals in China is the true Communist International. Chinese viewers of queer films gain insight into global trends, while these festivals also...

... the creative ways images have inhabited the journal's “books,” I introduce ephemeral embodied performance art and the concept of “relational aesthetics” to discuss documentary filmmaking today. I suggest useful analogies from current art making. How might we reimagine the performance of our writing and reading...

...Jongwoo Jeremy Kim This essay does not concern the history of comfort women per se; rather, it treats disruption and transgression in the discourse of comfort women, as filmmaker Byun Young-Joo sets in motion in The Murmuring (1995). This essay is particularly concerned with Byun's visual language...

... examine how and why these contexts led the filmmaker to take considerable liberties in adapting the story, in particular its conspicuous incorporation of archival photographs that document the rise of Japanese militarism in the mid- to late Taishō period (1912–26). I argue that the insistent injection...

.... The essay high-lights the remarkable work of Chris Marker, who died in 2012, one day after his ninety-first birthday. A well-known photographer, filmmaker, and artist, he visited the North four years after the air war ended and published a remarkable book of photos—one that also remains unknown or forgotten...