:: 3:AM Asia archive

The Big Forgetting published 05/08/2013

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Not so long ago, I asked a Beijing friend of mine if she thought his portrait might one day be taken down from Tienanmen Square. She smiled wryly and told me that it would be utterly unthinkable. Imagine if Hitler’s portrait still stared down at you from the Brandenburg Gate — that too is unthinkable. It would defy all moral sensibilities and common sense; yet Mao, the demigod, watches over his people, above the gates of the fallen “Emperor’s” Forbidden City. If you wouldn’t know better you’d think there was some kind of a sick inside joke going on.

Tom Bradley interviews Marc Vincenz about Mao’s Mole.

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3:AM Asia: Like Someone in Love published 29/06/2013

Akiko, a student juggling money problems, exams, a visiting grandmother and a clinging boyfriend, is reluctantly persuaded by her bar-proprietor boss to go and spend the evening with an elderly man of some importance. She expects him to expect sex… This being a Kiarostami film, however, things aren’t that simple. Consistently engrossing and intriguingly ambiguous [...]

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Japanamerica: Female auteurs published 14/02/2013

In the production of anime, Japanese women may also be liberated by changes in the creation of the medium. Just as self-publishing models are enabling writers to reach readers without the third-party involvement of publishers, computer software provides artists in anime the means to craft their art outside of studios, which remain largely male-dominated environs.

By Roland Kelts.

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Hijikata in Astrorama published 25/10/2012

Several years later, the site was almost entirely razed and converted into a suburban ‘commemorative’ park for the citizens of Osaka, with Expo 70′s emblematic ‘Tower of the Sun’ allowed to remain standing at its entrance. Astrorama, too complex and cumbersome for commercial exploitation, also became redundant, and the original celluloid film-cans containing The Birth were stored-away without being documented, and forgotten, until researchers from the Hijikata archive at Tokyo’s Keio University re-discovered them, forty years later, in the Osaka storage-facilities of the Sanwa Midori-kai alliance of corporations whose previous incarnation had sponsored the Midori-kan pavilion.

Stephen Barber writes on the re-discovery of a lost film of the legendary Japanese artist and choreographer, Tatsumi Hijikata.

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Japanamerica: Anime & Rock published 21/02/2012

hydeosakaJ-pop and J-rock’s connection to anime has long been both a burden and an opportunity. In the 1970s and 80s, anime soundtracks were heavily localized to attract American viewers, just as anime scripts were butchered to fit expectations shaped by Hollywood and television.

But in the late 90s and early 2000s, the Internet connected global fans to Japanese creators with an immediacy that transcended distance. An edited Pokemon or Naruto episode was no longer acceptable. And original songs, written and sung by Japanese artists, were prized as a sign of authenticity.

Roland Kelts on L’Arc~en~Ciel in New York, London & Paris.

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Japanamerica: Cosplay in the USA published 16/12/2011

jeye2The appeal of cosplay outside Japan is a perfect example of the transcultural boomerangs that characterize much of contemporary popular culture. As Japanese otaku of an older generation will tell you, cosplay, and the devotional fandom behind it, came from the United States: photos of costumed fans at North American sci-fi conventions, such as those revolving around Star Trek, appeared in magazines imported to Japan in the 1960s and 70s. Japanese readers adopted the practice, using characters from their homegrown anime and manga series. As the popularity of manga and anime spiked outside Japan, fast-evolving Internet access provided overseas fans first with a peephole and then a massive window onto what looked like an enticing made-in-Japan phenomenon.

By Roland Kelts.

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Alex-chan ganbare! published 18/11/2011

alexpailleI’ve made three films until now, Karma, You+Me=Love, and Mari-chan. I started getting into filming four years ago, because of Sion Sono, but before that I wasn’t into filmmaking, I wanted to draw manga. I met Takashi ”Bob” Okazaki, the creator of Afro Samurai, and he taught me the basics of Manga. So I was pretty serious about that. I don’t have the patience for comics though, it’s just too time consuming. I wanted Mari-chan to have a manga feel to it, that’s why the characters are so over-the-top and she keeps killing everyone but nothing happens to her.

David F. Hoenigman interviews filmmaker Alex Paille.

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The Necrology Interview published 30/09/2011

necrologyWhoever concocted the world did so under the influence of monsters, incarnations sired from states of self-reflexive revulsion. Reality is horror – it eats people like a carnivorous fog – a construct so diabolical that man has been unwittingly cajoled into adorning the effervescence of his dreams and his fantasies with costumes of malleable terror: ghouls, hybrid creatures, fused entities, seditious organs and limbs, malignant slimes, mythic decapitations, supernatural possession, psychotropic pestilence, brains worm-eaten with paranoia (insanities of truth)… myriad extremities of man’s dull fug.

David F. Hoenigman interviews Gary J. Shipley, Kenji Siratori & Reza Negarestani.

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Darkness at Noon published 19/08/2011

aiweiwei2From one art opening to the next, it is suddenly enough for us to witness an uprising for a link to appear. Directions that seemed contradictory cease to be so. Of course, it is easy to be disheartened by the recent wave of mindless looting and violence in London’s streets. But don’t you go believing, reader, that art institutions can once again retreat into the background. Comrades, let us continue on this path we have stumbled upon earlier this year. If the Ayatollah’s call to murder a novelist was a hinge moment for a previous generation, the Chinese government’s kidnapping of a visual artist is our hinge moment. Ai Weiwei’s release is merely the beginning.

Maxi Kim reflects on Ai Weiwei.

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Japanamerica: Blind at home, beloved overseas published 09/07/2011

jeye2The pressure on U.S. distributors of manga, anime and other J-pop products has proved unbearable in recent cases. TokyoPop, a trailblazing distributor and publishers of manga and anime in the United States, responsible for global versions of the Sailor Moon series, closed its manga publishing division for good three months ago. “I’m laying down my guns,” wrote founder Stu Levy, who built his company from scratch in 1997. “Some of it worked. Some of it didn’t.” Levy is a friend of mine. His passion for manga and anime is palpable. If he’s quitting the biz, it’s a good bet that the biz is battered.

By Roland Kelts.

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