The limits of fiction: politics and absent scenes in Susumu Hani’s Bad Boys (Furyōshōnen, 1960). A film re-reading through its script

This text proposes an updated analysis of Susumu Hani’s Bad Boys (1960) through the director’s theoretical contribution and the re-reading of his script. This film, made within the limits of reality and fiction, was instrumental in the cinematic language of the sixties in Japan. Hani implemented herein a style that he developed during his earlier decade as a documentary maker for Iwanami Eiga studios. Hani based his filmmaking method on a philosophical pragmatism extracted from the practices of an amateur writing called seikatsu kiroku (life document) that appeared in the early 1950s. In fact, Bad Boys is a loose adaptation of Tobenai Tsubasa (Wings that Cannot Fly) an example of seikatsu kiroku consisting of a compilation of experiences written by inmates from the Kurihama reformatory. Hani responded to the demands for a new realism of the time with this film, which he made collectively with the former inmates of that reformatory. Additionally, a close analysis of the script reveals significant ‘absent scenes’ of student demonstrations, which are similar to those Oshima and Yoshida used in 1960. This fact evidences Hani’s shared concern with other filmmakers of the time about the necessities of bringing cinema closer to topical issues

Film remakes, the black sheep of translation

Film remakes have often been neglected by translation studies in favour of other forms of audiovisual translation such as subtitling and dubbing. Yet, as this article will argue, remakes are also a form of cinematic translation. Beginning with a survey of previous, ambivalent approaches to the status of remakes, it proposes that remakes are multimodal, adaptive translations: they translate the many modes of the film being remade and offer a reworking of that source text. The multimodal nature of remakes is explored through a reading of Breathless, Jim McBride's 1983 remake of Jean-Luc Godard's À bout de souffle (1959), which shows how remade films may repeat the narrative of, but differ on multiple levels from, their source films. Due to the collaborative nature of film production, remakes involve multiple agents of translation. As such, remakes offer an expanded understanding of audiovisual translation

Paul Rotha/Pōru Rūta and the Politics of Translation

Presentation: "Paul Rotha/Pōru Rūta and the Politics of Translation" by Professor Abé Mark Nornes. Abé Mark Nornes is Chair of the Department of Screen Arts and Culture and Professor in Asian Languages and Cultures, University of Michigan Makino Collection Symposium Panel 3: "The Makino Collection and Documentary Film" Symposium: "The Makino Collection at Columbia: the Present and Future of an Archive." On November 11, 2011, Columbia University held its first daylong symposium to examine research in the field of Japanese film studies emerging from the rich holdings of the Makino Mamoru Collection on the History of East Asian Film (Makino Collection). The event was hosted by the Weatherhead East Asian Institute, C.V. Starr East Asian Library, Department of East Asian Languages and Cultures, the Donald Keene Center of Japanese Culture, and the School of the Arts -- Film Division