![\"\"](\"http:\/\/geidai-ga.warpjapan.com\/info\/wp-content\/uploads\/2019\/06\/899c6e2ba898c0ada3e248c11604f2e9-724x1024.jpg\")
<\/p>\nSpecial Lecture: Introduction to Art and Culture in the Global Age<\/span>
\nMedia Studies and Japan<\/span>
\n<\/span><\/span>
\n<\/span><\/h2>\n\n\n\u201cIntroduction to Art and Culture in the Global Age\u201d is a series of special lectures organised by the Graduate school of Global Arts. In this course we invite specialist from around the world to give lectures and workshops.\u00a0This time we welcome Prof. Tomiko Yoda and Prof. Alexander Zahlten for a lecture titled \u201cMedia Studies and Japan\u201d.<\/p>\n<\/div>\n
Date:<\/strong> 5 July 2019 (Friday) 16:20-17:50
\nVenue:<\/strong> GA Lecture Room, University Hall (Daigaku Kaikan) 2F, Faculty of Music Ueno Campus, Tokyo University of the Arts<\/p>\n*Free Admission. No pre-booking necessary. English only: No translation available.<\/p>\n
<\/p>\n
\nLecture 1.<\/strong><\/span><\/p>\nTomiko Yoda<\/strong>
\nTakashima Professor of Japanese Humanities in the Department of East Asian Languages and Civilizations, Harvard University, USA<\/p>\n\u00a0\u201cPrince is Dead, We have Killed Him:\u00a0Girl Revolution\u00a0and Feminist World-Building\u201d<\/strong><\/p>\nTelevision anime series\u00a0Revolutionary Girl Utena<\/em>\u00a0(1997) is a good specimen of what I refer to as the\u00a0pop pharmakon<\/em>. On the one hand, it constantly insists on its own artificiality and frivolity, steeped in the generic clich\u00e9 of girls\u2019 manga\/anime and delivered through the commercial broadc\u00ad\u00ad\u00ad\u00ad\u00adast television network.\u00a0 At the same time, it explores the possibility of flipping poison into care, inviting the audience to imagine how to break the toxic attachment to \u201cprincess narrative,\u201d exposing its hidden rules and mechanisms, including the disavowed and exploited abject femininity.\u00a0\u00a0Revolutionary Girl<\/em>\u2019s pharmacological gambit took on new forms in the process of its migration to the big screen.\u00a0 Although the production of theater-release movie version of hit television anime is a common practice,\u00a0Revolutionary Girl: Adolescence Apocalypse<\/em>\u00a0(1999) is neither a sequel, prequel, parallel narrative, spin-off, compilation film nor an alternative ending to the television series.\u00a0 The film not so much extends the Utena world than render it intensive through non-linear seriality.\u00a0 In particular, I will argue that in its transition from television to film,\u00a0Utena franchise\u00a0shifts its focus from the ideological critique to the question of desire as \u201cthe creation of new possible,\u201d the desire for a new world.<\/p>\n\u30fbProfile
\n![\"\"](\"http:\/\/geidai-ga.warpjapan.com\/info\/wp-content\/uploads\/2018\/05\/tomiko_yoda-234x300.jpg\")
\nTomiko Yoda is the Takashima Professor of Japanese Humanities in the Department of East Asian Languages and Civilizations, Harvard University. Her specialization includes Japanese literature, media studies, and feminist studies. She is the author of\u00a0Gender and National Literature: Heian Texts and the Constructions of Japanese Modernity\u00a0<\/em>(Duke UP),\u00a0and co-editor with Harry Harootunian of\u00a0Japan After Japan: Social and Cultural Life from the Recessionary 1990s to the Present<\/em>\u00a0(Duke UP).<\/p>\n<\/div>\n<\/div>\n <\/p>\n
<\/p>\n
\nLecture 2.<\/strong><\/span><\/p>\nAlexander Zahlten<\/strong>
\nAssociate Professor in the Department of East Asian Languages and Civilizations, Harvard University, USA<\/p>\nThe Limits of Media Studies <\/strong><\/p>\nWhat can we learn from media? What does it mean to ask that question as a general question about \u201cmedia\u201d? The investigation of media and mediation has taken on a new quality in a world where we are always already mediatized\u00a0and living in and through media technologies. But this means that the limits of media also are in danger of becoming the limits of our world.
\nBy looking at recent histories of negotiating the meaning of media in Japan, this talk will consider what possibilities media studies as a discipline has, which it deliberately shuts out, and where we might retool it.<\/p>\n
\u30fbProfile
\n![\"\"](\"http:\/\/geidai-ga.warpjapan.com\/info\/wp-content\/uploads\/2019\/06\/Alex-Zahlten-300x200.jpeg\")
\n<\/strong>Alexander Zahlten’s work centers on film and audiovisual culture in East Asia, with a focus on Japan. His recent work touches on topics such as film’s transition from environment to ecology and ‘amateur’ film and media production.
\nPublications include the co-edited (with Marc Steinberg) volume Media Theory in Japan <\/em>(Duke University Press, 2017) and his monograph The End of Japanese Cinema: Industrial Genres, National Times, and Media Ecologies <\/em>(Duke University Press, 2017).
\nHe was Program Director for the Nippon Connection Film Festival, the largest festival for film from Japan, from 2002 to 2010.<\/p>\n <\/p>\n
\nInquiry\uff1a<\/strong>
\ninfo-ga(at)ml.geidai.ac.jp<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"\u201cIntroduction to Art and Culture in the Global Age\u201d is a series of special lectures organised by the Graduate school of Global Arts. In this course we invite specialist from around the world to give lectures and workshops.\u2026<\/p>\n","protected":false},"author":2,"featured_media":7827,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"post_series":[],"class_list":["post-7816","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events-en","entry"],"_links":{"self":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts\/7816","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/comments?post=7816"}],"version-history":[{"count":0,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts\/7816\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/media\/7827"}],"wp:attachment":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/media?parent=7816"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/categories?post=7816"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/tags?post=7816"},{"taxonomy":"post_series","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/post_series?post=7816"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\u201cIntroduction to Art and Culture in the Global Age\u201d is a series of special lectures organised by the Graduate school of Global Arts. In this course we invite specialist from around the world to give lectures and workshops.\u00a0This time we welcome Prof. Tomiko Yoda and Prof. Alexander Zahlten for a lecture titled \u201cMedia Studies and Japan\u201d.<\/p>\n<\/div>\n
Date:<\/strong> 5 July 2019 (Friday) 16:20-17:50 *Free Admission. No pre-booking necessary. English only: No translation available.<\/p>\n <\/p>\n Lecture 1.<\/strong><\/span><\/p>\n Tomiko Yoda<\/strong> \u00a0\u201cPrince is Dead, We have Killed Him:\u00a0Girl Revolution\u00a0and Feminist World-Building\u201d<\/strong><\/p>\n Television anime series\u00a0Revolutionary Girl Utena<\/em>\u00a0(1997) is a good specimen of what I refer to as the\u00a0pop pharmakon<\/em>. On the one hand, it constantly insists on its own artificiality and frivolity, steeped in the generic clich\u00e9 of girls\u2019 manga\/anime and delivered through the commercial broadc\u00ad\u00ad\u00ad\u00ad\u00adast television network.\u00a0 At the same time, it explores the possibility of flipping poison into care, inviting the audience to imagine how to break the toxic attachment to \u201cprincess narrative,\u201d exposing its hidden rules and mechanisms, including the disavowed and exploited abject femininity.\u00a0\u00a0Revolutionary Girl<\/em>\u2019s pharmacological gambit took on new forms in the process of its migration to the big screen.\u00a0 Although the production of theater-release movie version of hit television anime is a common practice,\u00a0Revolutionary Girl: Adolescence Apocalypse<\/em>\u00a0(1999) is neither a sequel, prequel, parallel narrative, spin-off, compilation film nor an alternative ending to the television series.\u00a0 The film not so much extends the Utena world than render it intensive through non-linear seriality.\u00a0 In particular, I will argue that in its transition from television to film,\u00a0Utena franchise\u00a0shifts its focus from the ideological critique to the question of desire as \u201cthe creation of new possible,\u201d the desire for a new world.<\/p>\n \u30fbProfile <\/p>\n <\/p>\n Lecture 2.<\/strong><\/span><\/p>\n Alexander Zahlten<\/strong> The Limits of Media Studies <\/strong><\/p>\n What can we learn from media? What does it mean to ask that question as a general question about \u201cmedia\u201d? The investigation of media and mediation has taken on a new quality in a world where we are always already mediatized\u00a0and living in and through media technologies. But this means that the limits of media also are in danger of becoming the limits of our world. \u30fbProfile <\/p>\n Inquiry\uff1a<\/strong> \u201cIntroduction to Art and Culture in the Global Age\u201d is a series of special lectures organised by the Graduate school of Global Arts. In this course we invite specialist from around the world to give lectures and workshops.\u2026<\/p>\n","protected":false},"author":2,"featured_media":7827,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"post_series":[],"class_list":["post-7816","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-events-en","entry"],"_links":{"self":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts\/7816","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/comments?post=7816"}],"version-history":[{"count":0,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/posts\/7816\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/media\/7827"}],"wp:attachment":[{"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/media?parent=7816"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/categories?post=7816"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/tags?post=7816"},{"taxonomy":"post_series","embeddable":true,"href":"https:\/\/geidai-ga.warpjapan.com\/en\/wp-json\/wp\/v2\/post_series?post=7816"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nVenue:<\/strong> GA Lecture Room, University Hall (Daigaku Kaikan) 2F, Faculty of Music Ueno Campus, Tokyo University of the Arts<\/p>\n
\nTakashima Professor of Japanese Humanities in the Department of East Asian Languages and Civilizations, Harvard University, USA<\/p>\n
\n
\nTomiko Yoda is the Takashima Professor of Japanese Humanities in the Department of East Asian Languages and Civilizations, Harvard University. Her specialization includes Japanese literature, media studies, and feminist studies. She is the author of\u00a0Gender and National Literature: Heian Texts and the Constructions of Japanese Modernity\u00a0<\/em>(Duke UP),\u00a0and co-editor with Harry Harootunian of\u00a0Japan After Japan: Social and Cultural Life from the Recessionary 1990s to the Present<\/em>\u00a0(Duke UP).<\/p>\n<\/div>\n<\/div>\n
\nAssociate Professor in the Department of East Asian Languages and Civilizations, Harvard University, USA<\/p>\n
\nBy looking at recent histories of negotiating the meaning of media in Japan, this talk will consider what possibilities media studies as a discipline has, which it deliberately shuts out, and where we might retool it.<\/p>\n
\n
\n<\/strong>Alexander Zahlten’s work centers on film and audiovisual culture in East Asia, with a focus on Japan. His recent work touches on topics such as film’s transition from environment to ecology and ‘amateur’ film and media production.
\nPublications include the co-edited (with Marc Steinberg) volume Media Theory in Japan <\/em>(Duke University Press, 2017) and his monograph The End of Japanese Cinema: Industrial Genres, National Times, and Media Ecologies <\/em>(Duke University Press, 2017).
\nHe was Program Director for the Nippon Connection Film Festival, the largest festival for film from Japan, from 2002 to 2010.<\/p>\n
\n
\ninfo-ga(at)ml.geidai.ac.jp<\/p>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"