プロフィール

PRESENTERS AND CHAIRS


Joel Neville Anderson (ジョエル・ネビル・アンダーソン) is Visiting Assistant Professor of Cinema Studies and Film at Purchase College, State University of New York. Research and teaching encompasses personal documentary, community media, experimental film/video, environmental justice, Japanese cinema, and film festival studies. Anderson’s writing appears in Studies in Documentary Film, Millennium Film Journal, International Feminist Journal of Politics, Afterimage, Hyperallergic, Senses of Cinema, Film on the Faultline, and the Routledge Handbook of Japanese Cinema. He curates JAPAN CUTS: Festival of New Japanese Film, the largest festival of contemporary Japanese cinema in North America, and produces The Journal of Cinema and Media Studies podcast.


Joanne Bernardi (ジョアン・ベルナルディ) is Professor of Japanese and Film and Media Studies at the University of Rochester. She is author and editor of Re-Envisioning Japan: Japan as Destination in 20th Century Visual and Material Culture, a multimedia digital humanities project and original collection of tourism, education, and entertainment ephemera. Publications include Writing in Light: The Silent Scenario and the Japanese Pure Film Movement (Wayne State, 2001); Provenance and Early Cinema (co-editor, Indiana University Press, forthcoming); and book chapters and articles on Japanese cinema; moving image and media history, historiography, and preservation; Godzilla and nuclear culture; and digital humanities research and pedagogy.


Christopher M. Cabrera (クリストファー・Mカブレラ) is a PhD student in the Cinema Studies Program at Nagoya University. His research interests include cinema in Pacific Islands and the intersections of cinema and sound/music.


Jennifer Coates (ジェニファー・コーツ) is Senior Lecturer in Japanese Studies at the School of East Asian Studies, University of Sheffield. She is the author of Making Icons: Repetition and the Female Image in Japanese Cinema, 1945-1964 (Hong Kong University Press, 2016). Her current ethnographic research focuses on early post-war film audiences in Japan.


Chen Cong (叢 晨) is a PhD student in East Asian Studies at McGill University, Canada. Her research interests include popular cultures and voice/sound media in Japan. She is currently working on seiyū and the role of voice in media history and industry. She presented “‘The People Inside’: Voice, Body, and Audiolization of Japanese Anime” at the 2018 Society for Animation Studies Conference.


Michael Crandol (マイケル・クランドル) is University Lecturer in Japanese Studies at Leiden University, the Netherlands. He is the author of articles on the films of Nakagawa Nobuo, the horror actress Suzuki Sumiko and has contributed entries to The Encyclopedia of Japanese Horror Films (2016). His book Ghost in the Well: The Hidden History of Horror Films in Japan will be published by Bloomsbury Press in June 2021.


Rayna Denison (ライナ・デニソン) is Head of Department and a Senior Lecturer in Film, Television and Media Studies at the University of East Anglia, UK. She is the author of Anime: A Critical Introduction (2015) and the editor of Princess Mononoke: Understanding Studio Ghibli's Monster Princess (2018). She is the co-editor of the Eisner Award nominated collection Superheroes on World Screens (2015) and has also co-edited special issues of the East Asian Journal of Popular Culture, the Journal of Japanese and Korean Cinema and Intensities. Her articles on contemporary popular Japanese media have appeared in Cinema Journal, The Velvet Light Trap, Animation: An Interdisciplinary Journal and Japan Forum.


Masato Dogase (洞ヶ瀬 真人) is a post-doctoral fellow in the Graduate School of Humanities at Nagoya University and received his PhD from this institution. He is also a lecturer at Chubu University and Aichi Shukutoku University where he teaches Japanese cinema and animation culture. His essay on the postwar, modernism and Ozu has appeared in Tsuboi Hideto and Fujiki Hideaki (eds.) Postwar Japan as the Image (2010) [in Japanese]. He is currently engaged in a research project on Minamata Disease and pollution documentaries subsidized by a JSPS KAKENHI Grant.


Hideaki Fujiki (藤木 秀朗) is Professor of Cinema Studies in the Cinema Studies Unit and the Center for Transregional Culture and Society at Nagoya University, Japan. His books include Making Personas: Transnational Film Stardom in Modern Japan (2014) and Making Audiences: A Social History of Japanese Cinema and Media (Japanese edition, 2019, and English edition, forthcoming). He is currently completing a monograph provisionally titled Radioactive Documentaries: Ecology from Fukushima to the Globe.


Takafusa Hatori (羽鳥 隆英) is Adjunct Researcher at The Tsubouchi Memorial Theatre Museum of Waseda University. He received his Ph.D. in Human and Environmental Studies from Kyoto University in 2013 and published Nihon eiga no taishūteki sōzōryoku (The Popular Imagination of Japanese Cinema), the updated version of his doctoral dissertation, in 2016. He curated two special exhibitions at The Tsubouchi Memorial Theatre Museum of Waseda University: Ikebe Ryō no sekai (The World of Ikebe Ryō) in 2012 and Shinkokugeki to kengeki no sekai (The World of Shinkokugeki and Sword-Fighting Drama) in 2014.


Rachael Hutchinson (レイチェル・ハッチンソン) is Associate Professor of Japanese Studies at the University of Delaware. She received her D.Phil. from the University of Oxford in 2000. Her research focuses on censorship, national identity and postcolonial frameworks in Japanese literature, film, manga and videogames. She has published widely on the films of Kurosawa Akira, Takeshi Kitano and Fukasaku Kinji. Her books include Japanese Culture through Videogames (2019), The Routledge Handbook of Modern Japanese Literature (co-edited with Leith Morton, 2016), Negotiating Censorship in Modern Japan (ed. 2013), and Nagai Kafu's Occidentalism: Defining the Japanese Self (2011).


Woojeong Joo (朱 宇正) is Research Fellow at the Graduate School of Humanities, Nagoya University, Japan. He is the author of The Cinema of Ozu Yasujiro: Histories of the Everyday (2017), which re-examines Ozu Yasujirō’s films in terms of a socio-historical analysis of modern everyday life in Japan. His current research investigates the early discursive history of sound and visual media in East Asia with an emphasis on the development of the talkie film in Japan and colonial Korea in relation to technology, culture and politics.


Eri Kajikawa (梶川 瑛里) is a PhD student at Nagoya University-University of Warwick. Her research interests include audio-visuality, celebrity, media history and East Asian studies. She is currently writing a PhD thesis on female idols in the 1980s' Japan, with a focus on the function of idol's audio-visual image in the transmedia environment. Her research presentations include “Imagining In-Betweenness: A Historical View of Japanese Animation”(International Mini-conference “New Horizons in World Cinema,” November 2018).


Kosuke Kinoshita (木下 耕介) is Associate Professor of Film Studies in the Faculty of Literature, Gunma Prefectural Women’s University, Japan. His essays include ‘Another Genealogy of Narrative Film and the Theoretical Limits of Focalization: Christopher Nolan's Puzzle Film, Memento’ (2017), ‘FPS, GoPro, and Found Footage Films: Rethinking the Use of First-person Image in New Media’ (2015), ‘Virtual Worlds on Screen : From Tron to Avatar’ (2012) and ‘The Caretaker Doesn't Care: Narrative Film Genre and Spectator's Identification’ (2010) [all in Japanese]. His research focuses on spectatorial character construction during the reception process of narrative cinema.


Machiko Kusahara (草原 真知子) is a scholar in media art and media archaeology, and Professor Emerita at Waseda University. She has written, curated, and taught internationally in the fields of computer graphics, media art, and (more recently) media archaeology since the early 1980s, and served on juries at international competitions including Ars Electronica, SIGGRAPH, and Japan Media Arts Festival. Her research focuses on the interaction between art, culture, society, science and technology in visual media including Device Art, magic lantern culture, and panorama phenomenon. She holds a doctorate degree in engineering from the University of Tokyo.


Thomas Lamarre (トーマス・ラマール) is Professor of East Asian Studies and Communications Studies at McGill University, Canada. He is the author of numerous publications on the history of Japanese media, thought, and material culture, with projects ranging from the communication networks of 9th century Japan (Uncovering Heian Japan: An Archaeology of Sensation and Inscription, 2000), to silent cinema and the global imaginary (Shadows on the Screen: Tanizaki Jun’ichirō on Cinema and Oriental Aesthetics, 2005), animation technologies (The Anime Machine: A Media Theory of Animation, 2009) and television and new media (The Anime Ecology: A Genealogy of Television, Animation, and Game Media, 2018).


Ran Ma (馬 然) is Associate Professor on the Global-30 ‘Japan-in-Asia’ Cultural Studies and Cinema Studies programmes at Nagoya University, Japan. Her research interests include Asian independent cinemas and film festival studies and she has published several journal articles and book chapters on these topics. She is the author of Independent Filmmaking across Borders in Contemporary Asia (Amsterdam University Press, 2019). Besides research, Ma has also curated screening events of independent cinemas at Osaka, Beijing, and Nagoya.


Daisuke Miyao (宮尾 大輔) is Professor and Hajime Mori Chair in Japanese Language and Literature at the University of California, San Diego, US. He is the author of Japonisme and the Birth of Cinema (2020), Cinema Is a Cat: A Cat Lover’s Introduction to Film Studies (2019), The Aesthetics of Shadow: Lighting and Japanese Cinema (2013) and Sessue Hayakawa: Silent Cinema and Transnational Stardom (2007). He is also the editor of The Oxford Handbook of Japanese Cinema (2014) and the co-editor of Transnational Cinematography Studies (2017) with Lindsay Coleman and Roberto Schaefer.


Chikako Nagayama (長山 智香子) is Associate Professor in G30 Linguistics and Cultural Studies Program at the Graduate School of Humanities, Nagoya University. She has published articles about gender relations in film, media, society and education in Signs, Transnational Cinemas, Teaching in Higher Education and Japan Focus. With Jooyeon Rhee and Eric Li, she is a co-editor of Gender and Food in Contemporary East Asia (Lexington Books, forthcoming).


Johan Nordström (ヨハン・ノルドストロム) is Lecturer in Film Studies at Tsuru University, Japan. He received his PhD from Waseda University in 2014 and is currently completing two projects: a book on the Tokyo based early sound film studio P.C.L./Tōhō and an anthology (co-edited with Michael Raine) on Japanese cinema’s transition from silent to sound. In addition to his academic work, he has co-curated several programmes on Japanese cinema for international film festivals.


Shota T. Ogawa (小川 翔太) is Assistant Professor of Cinema Studies at Nagoya University, Japan. His research explores the interrelations of cinema and the questions of mobility. His writings on diasporic Korean cineastes have appeared in journals such as Screen, Japan Focus: The Asia-Pacific Journal, and the Journal of Japanese and Korean Cinema while his work on travel film across imperial Japan has appeared in Trans-Asian Photography Review and Mediafields. His current book project examines travelogue films in imperial Japan.


Alastair Phillips (アラステア・フィリップス) is Professor of Film Studies in the Department of Film and Television Studies at the University of Warwick, UK. His books include City of Darkness, City of Light: Émigré Filmmakers in Paris 1929-1939 (2003), Journeys of Desire. European Actors in Hollywood (co-edited with Ginette Vincendeau, 2006), Japanese Cinema: Texts and Contexts (co-edited with Julian Stringer, 2007), 100 Film Noirs (co-authored with Jim Hillier, 2009), Rififi: A French Film Guide (2009), A Companion to Jean Renoir (co-edited with Ginette Vincendeau, 2013), Paris in the Cinema: Beyond the Flâneur (co-edited with Ginette Vincendeau, 2018), The Japanese Cinema Book (co-edited with Hideaki Fujiki, 2020) and Tokyo Story (2022). He is an editor of Screen.


Takeshi Tanikawa (谷川 建司) is a visiting professor of film history and popular culture studies at the Graduate School of Political Science, Waseda University. He has worked both in academia and journalism, and he has published more than 30 books in both fields. His academic publications include Amerika eiga to senryō seisaku (Kyoto University Press, 2002), Sengo Chūshingura: Eiga no zenbō (Shūeisha Creative, 2013), Kōraiya sankyōdai to eiga (Yūzankaku, 2018), and Baseball in Occupied Japan: US Postwar Cultural Policy (Kyoto University Press, 2021)


Yoshiharu Tezuka (手塚 義治) is Professor of Media & Cultural Studies at Komazawa University, Tokyo, Japan. He was trained as a cinematographer and documentary filmmaker at the National Film and Television School (NFTS). As the managing director of Chimera Films & Communications, he has coordinated and produced numerous film, television and advertising projects in Japan and the UK. His publications include Japanese Cinema Goes Global: Filmworkers Journeys (2012) and ‘Dynamics of the Cultures of Discontent: How is Globalization Transforming the Training of Filmmakers in Japan?’ in Mette Hjort (ed.) The Education of the Filmmaker (2013).


Manabu Ueda (上田 学) is Associate Professor in Film Studies at Kobe Gakuin University, Japan. His books include The Nikkatsu Mukōjima and Shinpa Film Era Exhibition Catalogue (ed., 2011), Exhibition and Audience in Early Japanese Cinema: Tokyo and Kyoto (2012), The Handbook of Asakusa Literary Arts (co-authored with Kanai Kanai, Kurumizawa Ken, Noji Katsunori, Tsukui Takashi and Hiroka Yuū, 2016) [in Japanese]. His articles include ‘Child Spectators and the Modern City in the Early 1910s: An Analysis of Kisha katsudō shashinkan’, ICONICS no. 9 (2008).


Diane Wei Lewis (ダイアン・ウェイ・ルイス) is Assistant Professor of Film and Media Studies at Washington University in St. Louis. Her research focuses on Japanese film and media, and cinema’s connections to mass media, capitalism, and modernity. Her essays have appeared in Cinema Journal, positions: asia critique, Feminist Media Histories, and Screen. She is author of Powers of the Real: Cinema, Gender, and Emotion in Interwar Japan (Harvard University Asia Center, 2019).


Naoki Yamamoto (山本 直樹) is Assistant Professor of Film and Media Studies at the University of California, Santa Barbara. He has published on topics including the global dissemination of machine aesthetics in the 1920s, German-Japanese wartime film co-productions, and the Japanese reception of early Hollywood cinema and the British Documentary Film Movement. He is the author of Dialectics without Synthesis: Realism, Film Theory, and Japanese Cinema (California, 2020). His other publications include Mediology in the Era of Transition [Shinwasha 2019, in Japanese], a co-edited volume of essays on media theory and practice in postwar Japan.


Alexander Zahlten (アレクサンダー・ザルテン) is Professor of East Asian Languages and Civilizations at Harvard University. His work centers on film and media in East Asia, with a focus on Japan and currently explores the transition from media environment to media ecology and “amateur” film production. Publications include the co-edited volume Media Theory in Japan (Duke University Press, 2017, with Marc Steinberg) and the monograph The End of Japanese Cinema: Industrial Genres, National Times, and Media Ecologies (Duke University Press, 2017). He was Program Director for the Nippon Connection Film Festival, the largest festival for film from Japan, from 2002 to 2010.