Expressions such as, “I saw the film but liked the book better” belie the fact that criteria for excellence in each of these distinctive media are markedly different. Papers concerning any aspect of adaptation of Japanese literature into Japanese film, of foreign source texts into Japanese film, of Japanese source texts into foreign film or of cross-cultural (and/or cross-temporal) filmic remakes are welcome. In the process of adaptation, how and why are changes made to satisfy the criteria of “significant form” in the target medium? How and why are changes made when adapting across cultures or across time? How do directorial choices illuminate Japan on the screen or signify the “foreign” to Japanese audiences? What are the aesthetic and ideological significances of such choices?
Please submit a proposal of 250 words and a brief bio to Peter Tillack (email@example.com) by March 1, 2014.
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