From fub-geas@lists.fu-berlin.de Wed Apr 20 15:50:49 2022 Thread-Topic: Guest Lecture/Film Screening and Q&A with Sharon Kinsella (U Manchester) (@GEAS) Thread-Index: AQHYVL2VE8Q0n/VBCUCx01Ou/4KIfQ== Accept-Language: de-DE, en-US Content-Language: de-DE Content-Type: multipart/alternative; boundary="_000_5afc4fe150824fc7b706a5b67f357c1ageasfuberlinde_" MIME-Version: 1.0 Date: Wed, 20 Apr 2022 15:50:44 +0200 X-Spam-Flag: NO X-Spam-Status: No, score=-48.8 required=5.0 tests=ALL_TRUSTED,HTML_MESSAGE, MISSING_HEADERS X-Spam-Checker-Version: SpamAssassin 3.4.6 on Tokelau.ZEDAT.FU-Berlin.DE X-Spam-Level: X-Mailman-Approved-At: Wed, 20 Apr 2022 15:52:33 +0200 Message-ID: From: Newsletter Graduate School of East Asian Studies Subject: [FUB-GEAS] Guest Lecture/Film Screening and Q&A with Sharon Kinsella (U Manchester) (@GEAS) X-BeenThere: fub-geas@lists.fu-berlin.de X-Mailman-Version: 2.1.29 Precedence: list List-Id: Newsletter Graduate School of East Asian Studies List-Unsubscribe: , List-Archive: List-Post: List-Help: List-Subscribe: , X-List-Received-Date: Wed, 20 Apr 2022 13:50:49 -0000 --_000_5afc4fe150824fc7b706a5b67f357c1ageasfuberlinde_ Content-Type: text/plain; charset="windows-1257" Content-Transfer-Encoding: quoted-printable Guest Lecture by Sharon Kinsella and Screening of Jos=F4 (2020) - Discussio= n and Q&A May 13, 2022 | 4 - 6 PM (in presence) Sharon Kinsella will be present to give a guest lecture and afterwards scre= en and discuss the phenomenon and thought processes behind her and David Pa= nos' recent film Jos=F4, which explores the various social agents and layer= s involved in the recent female cross-dress boom in Japan. All students, staff and colleagues are welcome. For preparation purposes, p= lease be so kind to register online until May 12 at http://www.geas.fu-berl= in.de/events/lectures/22_kinsella_lect.html Jos=F4 2020 Joso is a film collaboration combining ethnographic documentation and art f= ilm to explore the nature of male reaction and sentiment on the cusp of cha= nge in Japan. Filmic flow through Tokyo, Saitama and Fukushima captures sig= ns and context of the heavily ideological and yet ambiguously gendered pres= ence built into the contemporary urban environment. Urban Japan in the mid-= 2010s is seen in its own style of motion under the enthusiastic and benign = gazes of enormous teenage girl faces screened and posted throughout the cit= y. Interleaved in this macro-landscape the film shows the micro-gestures an= d movements of unknown people in gendered postures. As the film unfolds dee= per layers begin to emerge. There are signs that the girl is the new model = commuter and employee: flexible, disciplined and cute. Under the implicit d= irections of the gendered city young men are witnessed engaged in complex a= ctive reactions: cross-dressing, de-masculinizing, idolizing and parodying.= Close interaction and conversation with young men involved with specific re= cent male subcultures =96 otoko no ko (dressing as girls) and himote (=93me= n without=94 women) =96 appear, and through their gestures and words the au= dience is drawn into the language and emotion of young men in the contempor= ary period. Focus on bodily gesture and voice also works to discourage Orientalist and = essentialist desire for the film=92s subject. This is not a film about =91J= apan=92 but about people struggling to express the sentiments of a moment i= n time. Light usage of archival material and cultural references, such as Y= amaguchi Momoe=92s voice during her bridal retirement speech in 1980; Ultra= man and the creator=92s grandson in jos=F4 mode; ero sh=F4jo characters and= collectors at Comic Market in 2015; shoreline re-building and stagnant wat= ers in Fukushima in 2013; and lyrics of animed series, all hint at a the hi= storical situation. Sharon Kinsella is a researcher and theorist of gendered subcultures and cu= ltural production in Japan, who has worked on the politics, history and soc= ial relations of kawaii, otakuism, seinen manga zasshi, shukkanshi, gyaru, = and enjo k=F4sai. Sharon=92s work is known for its detail, visual quality a= nd critical attention to the meaning of mass media and visual cultural tren= ds. David Panos is a widely-exhibited artist filmmaker who=92s work has tak= en up critical themes, such as gentrification and resistance in East London= (Polly II, Trail of the Spider), and has dealt with historical and contemp= orary concerns in performance and aesthetic language. His most recent film = collaboration prior to this project put the story of the origins of money a= nd abstract thought, in ancient Greece, into gestural language (Ultimate Su= bstance, 2012). Time & Location May 13, 2022 | 04:00 PM - 06:00 PM Lecture Room (010/011) Ground Floor Graduate School of East Asian Studies Hittorfstr. 18 (old building/former TOPOI villa) 14195 Berlin Location ---- Organization: Graduate School of East Asian Studies (GEAS) events@geas.fu-berlin.de --_000_5afc4fe150824fc7b706a5b67f357c1ageasfuberlinde_ Content-Type: text/html; charset="windows-1257" Content-Transfer-Encoding: quoted-printable

Guest Lecture by Sharon Kinsella and Screening of Jos=F4 = ;(2020) - Discussion and Q&A

May 13, 2022 | 4 - 6 PM (i= n presence)

 

Sharon Kinsella will be present to give a guest lecture and af= terwards screen and discuss the phenomenon and thought processes behind her= and David Panos' recent film Jos=F4, which explores the= various social agents and layers involved in the recent female cross-dress boom in Japan. 

All students, staff and colleagues are welcome. For preparation purposes= , please be so kind to register online until May 12 at http://www.geas.fu-berlin.de/events/lectures/22_kinsella_lect.html


Jos=F4 2020

 

Joso is a film collaboration combining ethnographic documentati= on and art film to explore the nature of male reaction and sentiment on the= cusp of change in Japan. Filmic flow through Tokyo, Saitama and Fukushima = captures signs and context of the heavily ideological and yet ambiguously gendered presence built into the c= ontemporary urban environment. Urban Japan in the mid-2010s is seen in its = own style of motion under the enthusiastic and benign gazes of enormous tee= nage girl faces screened and posted throughout the city. Interleaved in this macro-landscape the film shows th= e micro-gestures and movements of unknown people in gendered postures. As t= he film unfolds deeper layers begin to emerge. There are signs that the gir= l is the new model commuter and employee: flexible, disciplined and cute. Under the implicit directions of= the gendered city young men are witnessed engaged in complex active reacti= ons: cross-dressing, de-masculinizing, idolizing and parodying.Close intera= ction and conversation with young men involved with specific recent male subcultures =96 otoko no ko (dressing as girls) and himote (=93men without=94 women) =96 appear, and through = their gestures and words the audience is drawn into the language and emotio= n of young men in the contemporary period.

Focus on bodily gesture and voice also works to discourage Orientalist a= nd essentialist desire for the film=92s subject. This is not a film about = =91Japan=92 but about people struggling to express the sentiments of a mome= nt in time. Light usage of archival material and cultural references, such as Yamaguchi Momoe=92s voice during her brid= al retirement speech in 1980; Ultraman and the creator=92s grandson in jos=F4 mode; ero sh=F4jo characters and collectors at Comic Market in 2015; shorel= ine re-building and stagnant waters in Fukushima in 2013; and lyrics of ani= med series, all hint at a the historical situation.


Sharon Kinsella is a researcher and theorist of gender= ed subcultures and cultural production in Japan, who has worked on the poli= tics, history and social relations of kawaii, otakuism, seinen manga zasshi, shukkanshi, gy= aru, and enjo k=F4sai. Sharon=92s work is known for its detail, visual qual= ity and critical attention to the meaning of mass media and visual cultural= trends. David Panos is a widely-exhibited artist filmmaker who= =92s work has taken up critical themes, such as gentrification and resistan= ce in East London (Polly II, Trail of the Spider), and has dealt with historical a= nd contemporary concerns in performance and aesthetic language. His most re= cent film collaboration prior to this project put the story of the origins = of money and abstract thought, in ancient Greece, into gestural language (Ultimate Substance, 2012)= .

 

Time & Location

May 13, 2022 | 04:00 PM - 06:00 PM

Lecture Room (010/011) Ground Floor Graduate School of East Asian Studies
Hittorfstr. 18 (old building/former TOPOI villa)
14195 Berlin
Location


----

Organization:
Graduate School of East Asian Studies (GEAS)
events@geas.fu-berlin.de


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