Job: International Learning Program Coordinator – Stetson University (FL)
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Posted by Sydney Sparrow, curriculum and content developer for a real estate school based in Virginia. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.
Position: International Learning Program Coordinator
Posted by: Stetson University
Location: DeLand, Florida
Contract: Full-Time
The David and Leighan Rinker Center for International Learning at Stetson University is a professional position involving the development, planning, and implementation of programs at Stetson University in support of the University’s international learning goals.
Under the general direction of the Director of International Learning, the International Learning Program Coordinator is responsible for supporting the advancement of global learning initiatives including faculty-led programs such as Study Abroad and other Study Away programs, and international student and alumni development. The Program Coordinator will also be a key member of the WORLD Center staff and will contribute to the implementation of a robust Strategic Plan for international learning at Stetson University.
Posted by Sydney Sparrow, curriculum and content developer for a real estate school based in Virginia. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.
Event: 2015 Boston Career Forum
Posted by: Mitsubishi Corporation
Location: Boston, MA
Date: November 20, 2015 (Company seminars begin at 10:00AM)
For almost thirty years the Boston Career Forum has been the standard in Japanese-English bilingual recruitment. As a rare and exceptional opportunity to connect directly with top industry players, students and working professionals alike attend the event to discover exciting new fields and launch fulfilling careers through full-time and internship positions.
Mitsubishi Corporation (MC) will be joining the Boston Career Forum 2015, and plans to hold information sessions specifically for former JET participants on November 20th. They have several former JET participants currently working in a variety of fields across their network, including Human Resources, Corporate Social Responsibility (CSR), Public Relations, Security Trade Control, Global Strategy, Legal, Chemicals Trading, and Global Environment and Infrastructure.
You can learn more about what they do at Mitsubishi Corporation by clicking here.
To join one of their information sessions on November 20th, please pre-register for the Boston Career Forum at the links below.
- Sign up at Career Forum Net (operator of the Boston Career Forum) by clicking here.
- Register for the Boston Career Forum by clicking here.
When you have registered, please look for their company booth at the Career Forum on November 20th. Please note that the objective of these sessions is to share information about Mitsubishi Corporation and are an opportunity for you to share information about your career goals with them.
Mitsubishi Corporation recruits staff based on the specific business needs of each office and subsidiary as they arise. At the information sessions, they will not be interviewing for any specific positions. However, going forward, they would like to keep in touch with capable, highly-motivated ex-JETs in case any suitable positions come up.
“100 Yen Love” – Film Review from the 19th Japanese Film Festival (Australia and New Zealand)
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Eden Law (Fukushima-ken ALT 2010-2011) reviews “100 Yen Love”, a character-driven drama about the beautiful losers of life, you and me, baby.
Mama said knock you out
A film with indie sensibilities, 100 Yen Love is a slow-burn treat, a small-town drama that may not seem to have much to offer like its protagonist, but it’s the little things about this film that prove to be the most satisfying. Already saddled with a string of awards, director Take Masaharu’s film is Japan’s official entry into the foreign-language category in this year’s Oscars.
Ichiko (Ando Sakura) is a slacker – directionless at the ripe old age of 32 with little prospects and mooching off her accommodating parents in an unremarkable and plain town that could be set anywhere in Japan. She barely expends energy on anything, almost incomprehensible in her speech, and neglectful of her appearance, wearing slept-in clothes, her face half-covered by unruly hair with long-grown-out roots, shuffling in a stooped posture to the local convenience store for late night junk food and manga. However, she is forced to leave home after an altercation with her antagonistic sister, and to support herself by working at a dead-end job at the same convenience store she used to frequent. Along the way, she enters into an awkward, maybe-romance with a taciturn and brusque man from the local boxing gym that her workmates call “Banana Man” (Arai Hirofumi), because of his odd habit of buying massive amounts of bananas. For the first time, Ichiko has to rely on herself in dealing with all the trials of being an adult, and they can be very, very brutal indeed.
To describe 100 Yen Love simply, you could call it an inspirational, transformative story through the genre of sports – boxing, in this case, as Ichiko, finding focus for the first time in her life, transforms from a loser to a lean, powerful athlete. And yes, there is the usual training montage of a zero-to-hero, helped along by a rock-out soundtrack that was shamelessly enjoyable and inspirational, though the film meanders for quite a while before reaching this part. But Ichiko’s journey doesn’t feel like a cliche – Ando, in her role, really did an amazing job – bringing a muscularity to her role (apparently Ando did actually trained at a local boxing gym in her teens), and truly inhabiting Ichiko, growing bolder and more confident in her mannerisms and stature. At first an unwilling participant in the course of her own life, she finally takes control, not for any lofty message or plot-driven ideals, but because she needed to.
As mentioned, there is satisfaction in the small things in this film – the background is populated by a cast of quirky characters who provide humour and humanity to the general greyness of the film, although some characters are harder to stomach than others. Like the climatic boxing match that Ichiko finally enters into, the film is not beautiful to watch, but will reward the patient viewer who sticks with it to see what happens next. Sometimes the small things can be just as epic and satisfying.
“Bakuman” – Film Review from the 19th Japanese Film Festival (Australia and New Zealand)
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Rafael Villadiego (Nagasaki-ken 2010-2013) writes reviews “Bakuman”.
From the manga makers of Deathnote.
Friendship, struggle, triumph!
Armed with this eponymous mantra and the indomitable seishun spirit, prepare to jump into this contemporary boys-own adventure based on a manga about making a manga.
The story of two accidental high school friends who form an unlikely writer/illustrator comic combo and embark on an epic quest to fulfil a lifelong dream they had no idea they shared – to have their creative collaboration published in the legendary Shonen Jump comic magazine.
Courtesy of the same creative team responsible for the undisputed suspense classic, “Deathnote” – Ohba Tsugumi and Obata Takeshi – Bakuman channels all the hallmarks of a runaway bestseller but with a quirky, comedic bent and a decidedly lighter feel. There are still definitive moments of emotion and rare insight, but there is far more humour and levity this time around that keeps the pacing breezy and fun.
The story follow talented but reluctant artist Moritaka Mashiro – Satoh Takeru – who is haunted by the untimely loss his uncle – a famous manga-ka – who passed away during his childhood. Left traumatised by the experience of seeing his uncle brought low by the realities of an unrelenting schedule and an unforgiving audience, he is reluctant to reveal his burgeoning artistic talents. Enter Takagi Akito, an aspiring writer, who discovers Moritaka’s notebook filled with idle drawings of his unrequited love. While Moritaka initially rebuffs Takagi’s advances, he is eventually dragged into the undertaking after a dramatic encounter with his high school crush – Komatsu Nana – in which they both reveal their feelings and dreams for the future. Each third year junior high school students on the cusp of adulthood, they encapsulate that mix of innocent naivete and exuberant optimism with aplomb.
And so, mix in this dash of high school romance and youthful promises – easily and earnestly made, but remarkably difficult to keep when confronted with the realities of the “real world”, and you have all the hallmarks of a seishun classic, with a twist. Set in the fast-paced world of serialised manga, the pressure to meet deadlines and the rigour of catering to impossible reader expectations, eventually takes its toll on our dynamic duo. But during the journey they are aided by an understanding editor and a colourful collection of other artists pursuing the same dream, who each teach them invaluable lessons along the way.
The film is an unabashedly commercial endeavour. A walking billboard for “Shonen Jump” and the countless manga it has produced over the years, it unashamedly targets a specific demographic and aims to captilise on this existing and eager audience of manga readers. While these numbers are inevitably declining, the film takes pains to point out that at its peak it comprised a tremendous percentage of the Japanese population. It is no surprise then that the producers aim to recapture this nostalgic spirit by freely referencing the classics of the genre and aim to live out the Shonen Jump slogan writ large. There is even a point in the film where the characters break the fourth wall and point out their own self-referential corniness.
But if you have ever harboured secret dreams of becoming a manga-ka or have fond childhood memories of trawling through old Shonen Jump magazines to peruse cult classics such as Dragon Ball, Slam Dunk, or Bakuman, then this film will stir something in you, long thought lost, but only forgotten. A collective recollection of the exuberance of youth, the importance of friendship the struggle to succeed when everyone else doubts you, and the ultimate elation of triumph upon achieving your goal. An at-times-clumsy but earnest reminder to follow your dreams at all cost.
Watch this film if…
…you are looking for an invitation to recapture your youth, raise your fist and jump up high, as you scream “friendship, struggle, triumph!” At the top of your lungs…
Quick Notes:
– The film is based off the manga “Bakuman” by Ohba Tsugumi and Obata Takeshi.
– The duo are also responsible for the manga classic “Deathnote”.
JQ Magazine: Book Review — ‘The Inland Sea’
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“Richie’s acerbic humor and wit are coupled with lush scenery and descriptions, offering an intoxicating and wry getaway.” (Stone Bridge Press)
By Alexis Agliano Sanborn (Shimane-ken, 2009-11) for JQ magazine. Alexis is a graduate of Harvard University’s Regional Studies-East Asia (RSEA) program, and currently works as a program coordinator at the U.S.-Asia Law Institute of NYU School of Law.
The Inland Sea by the late Donald Richie is a legendary book in the Japan field. For many, it’s their first foray into the culture. Following Richie as he sets sail across the Seto Naikai, the body of water which spans between the islands of Shikoku, Honshu and Kyushu, The Inland Sea chronicles Richie’s quest for authenticity and escape. There, among the hamlets and fishing villages which dot the coastline, he paints for the readers a sun-drenched and hazy seascape; encapsulating his journeys into a memoir, history, and travel book all at once.
Originally written in the early sixties, published in 1971 and subsequently reprinted over the years, the newest edition by Stone Bridge Press deserves a place of honor on your bookshelf—and in your mind. Richie’s acerbic humor and wit are coupled with lush scenery and descriptions, offering an intoxicating and wry getaway. The book is a solid combination of sardonic and sublime. Written as a series of essays, it’s easy to thumb through the pages, find a spot at random, and pick up at a new leg of the journey with Richie—just as he catches a boat with the tide.
This edition also features photographs by Yoichi Midorikawa, the Japanese photographer renowned for his black and white photographs which highlight the scenic, if not austere, beauty of Japan. These images complement the narrative, helping to conjure up a sense of lonely nostalgia. Despite the wonder of the world Richie paints for us, it is one where undercurrents follow mercurial moods as the author mulls on life, Japanese society, and the ever-worshiped god of “progress.” The first sentence to the book sets the tone: “Kobe, from where I have just come, is indication enough of Japan’s sad future.”
Justin’s Japan: ‘You Look Yummy!’
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Click image to read story
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02) for Shukan NY Seikatsu. Visit his Examiner.com Japanese culture page here for related stories.
For parents of little ones not quite ready for Jurassic World comes You Look Yummy!, a children’s book by Tatsuya Miyanishi and newly published in English by Museyon.
The story of a fearsome Tyrannosaurus (the star of 11 other bestselling titles written by the author) and the baby Ankylosaurus he grows attached to (the tot believes his “daddy” names him “Yummy” after he’s hatched), You Look Yummy!, teaches valuable lessons about the bonds between a parent and child, and how those bonds can remain strong despite mistaken identity.
Museyon
As “father” and “son” grow close, the Ankylosaurus mimics the T-Rex in ramming mountains, cutting down trees and roaring (complete with his own muted sound effects). When the day comes for them to part, readers will be touched by what unfolds.
Children will be instantly attracted to Miyanishi’s illustrations. Throughout its pages, there are artistic touches like a white sky, coloring outside the edges to make the images pop, and hash marks for the dinos that serve as texture 101. Especially effective are scenes of a night sky jam-packed with stars and dotted with some exaggeratedly large ones (think Christmas tree). The result is something that feels like it could have been drawn by a child, but is secretly the work of a seasoned artist—after all, the Tyrannosaurus is a dead ringer for Godzilla.
For more information, visit www.museyon.com.
“Kakekomi” – Film Review from the 19th Japanese Film Festival (Australia and New Zealand)
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Eden Law (Fukushima-ken ALT 2010-2011) reviews “Kakekomi”, a historical comedy drama set in 19th century Japan, about kakekomi, women who seek divorce from abusive husbands by fleeing to a temple sanctuary. And yes, I did say comedy, along with the drama.
Sisters are doing it for themselves
A light, historical comedy-drama set in mid-19th century Japan, kakekomi refers to the sole method by which women in feudal Japan could legally divorce their husbands, by seeking refuge in a temple for a period of time, after which the marriage would be declared null and void by law. In this time period, Edo (now modern-day Tokyo) groans under the severe austerity and moral reforms imposed by a puritanical government that seeks to outlaw all corrupting pleasures and foreign influences, such as Christianity, western medicine, entertainment (both traditional and foreign) and ironically, sushi. Even the use of colour in print is considered subversive, as a character complains about the unexciting and plain novels available for sale.
Two women, meeting by chance on a dark night on a lonely road, journey to Tokei-ji in order to become kakekomi – Jogo (Toda Erika), who seeks to escape from an abusive marriage, and O-Gin (Mitsushima Hikari), a beautiful and refined concubine whose reasons for leaving are not clear. They are assessed by the administrators of a local inn for their suitability, aided by the wise Genbei (Kiki Kirin). Also seeking refuge at the inn, is Genbei’s nephew Nakamura Shinjiro (Oizumi Yo), an idealistic and eccentric student of medicine with ambitions to be a writer. Over two years, the temple, its inhabitants and the local inn have to contend with various issues and problems, including dissatisfied husbands seeking the return of their wives.
An adaptation of the novel Tokeiji Hanadayori by Hisashi Inoue, Kakekomi moves at a brisk pace, juggling several story lines with a large cast of characters. Considering a rather confusing first part, where subplot introductions and dialogue whizz past at dizzying speed (testing one’s ability to speed-read the subtitles), the film surprisingly manages to tie all the strands together fairly well, although there is a bit of deus ex used in the resolution of some of these. Incredibly, director Harada Masato made a four-hour version before merciless editing it down to about 2.5 hours, which helps explain the sometimes disjointed and out-of-place feel of certain scenes, with some secondary characters being little more than a slightly caricaturised plot device. This doesn’t mean however that Kakekomi is unenjoyable – thanks in large part to the great cast. Oizumi’s rubbery-faced Shinjiro, is a highly endearing goofball, who deftly manages to balance comedy and seriousness. Toda, as Jogo, is fantastic to watch as her character grows in confidence and strength throughout the film. Special mention goes to Hizuki Hana who plays the Tokeiji’s Abbess, a living embodiment of the phrase “an iron fist in a velvet glove” – managing to be hilarious and terrifying at the same time.
Apart from bursting at the edges with plots, the film is also crammed with both the visual and aural delights. The cinematography is gorgeous, filmed on location in an actual centuries-old temple complex, and the passing of the seasons and time is impossibly picturesque – and that opening shot of raindrops falling onto a carpet of moss, creating tiny pits over time, is just poetry. Those with a love of period costume will drool over the historically accurate costumes and sets, faithfully reproduced. The characters also sing a lot of songs – the film is not a musical by any means, but it gives a rich depiction of culture that the conservative government is trying to suppress as being decadent. Kakekomi might not really have an agenda other than a desire to entertain, but there is a strong message about censorship and resistance to change, and most of all, about the benefits of empowerment, especially of its female characters, who are just as strong and capable as – sometimes even more than – the men. Kakekomi is definitely engaging and well worth watching, and I would love to check out the full-length director’s cut if it ever comes out on DVD (at least then I can hit the pause button to read the subtitles in full).
10 Jobs in International Education
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Via Carleen Ben (Oita). Posted by Sophia Chan (Sapporo-shi, 2009-2014). If interested in more job listings, join the JETwit Jobs Google Group and receive job listings even sooner by email.
(1) (MA) Entry Level Opening – Admissions Advisor Position at Spanish Studies Abroad
> Specializing in academic and cultural travel programming in Spanish speaking countries.
>
> Job title: Admissions Advisor
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> Reports to: Director of Admissions
>
> Start Date: Immediately
>
> Job Description: The Admissions Advisor is part of a two-person team overseeing applications by a designated region. Our Admissions Advisors process approximately 700 applications per year. The Advisor works with students through the admissions process from guiding initial applicants to providing pre-departure and post-program support. The Advisor works closely with the Academic Director, on-site staff, and the Institutional Relations department to ensure that all applicant needs and questions are met in a timely and accurate manner.
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> Primary Responsibilities:
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> – Be the main contact for applicants applying to all Spanish Studies Abroad programs
> – Conduct close monitoring of applicant progress and timely follow-up with students by phone and email
> – Properly advise applicants through our application process and our programming options
> – Manage student application files through our online database system
> – Process acceptance letters and visa materials and advise students on student visa process
> – Answer all student inquiries via email and phone
> – Work closely with on-site staff regarding applicant progress and programming details
>
>
> Required Skills:
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> – Bachelor’s degree
> – Strong written and verbal communication skills
> – Excellent organizational and multi-tasking abilities
> – Enthusiastic and customer-focused
>
> Preferred:
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> – Personal study abroad experience in a Spanish speaking country
> – Proficiency in the Spanish language
> – Experience working in a study abroad office
>
>
> All applicants should submit a letter of interest and resume to:
>
> Erinn Kennedy
> Director of Admissions
> Spanish Studies Abroad
> 446 Main St.
> Amherst, MA 01002
> erinn.kennedy@spanishstudies.org
“Miss Hokusai” – Film Review from the 19th Japanese Film Festival (Australia and New Zealand)
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Eden Law (Fukushima-ken ALT 2010-2011) reviews “Miss Hokusai”, a film about the little known but just as talented daughter of Hokusai. Go out and grab your pre-school paint kit.
And you thought your Instagram pics were pretty sweet
The name Hokusai is instantly recognisable – or should be, given that his most famous work, The Great Wave Over Kanagawa, has been credited with helping give birth to impressionistic art in the 19th century. Prodigious in his output and talent, he covered a large and diverse range of subject matter, from courtesans and actors, to landscapes, ordinary life and erotica, using not just traditional Japanese methods but also experimenting with Western styles and materials. This probably explains the rather surprising and unexpected use of a modern electric guitar number that opens the film – a melding of new and traditional probably.
The story of the man as a legendary figure in art is well documented, but it has obscured other aspects of his story, such as his familial relationships. Such is the case with his daughter Oei, the “Miss Hokusai” of this movie, who not only inherited her father’s talent, but seemed to be a fascinating personality in her own right. When I say “seemed to be”, it’s because not much unfortunately is known about Oei’s life. So overshadowed is she that, apart from 10 artwork confirmed to be her work, the authorship of others are disputed, as she worked in such close partnership with her father, that their artistic output has been tightly tangled and woven, which the film expertly alludes to in several scenes.
Because of the gaps in the historical Oei’s story, a straight-out traditionally told biography would be impossible. Instead, “Miss Hokusai” is more of a collection of scenes and situations, like the historical manga “Sarusuberi” (by Sugiura Hinako) that the film is adapted from. Oei is fleshed out by her interactions with the people around her – whether it be her contemptuous treatment of “useless” men, which includes her shabby and flaky father (whom she only ever refers to by name rather than by the usual honorifics); her patient and protective love for her sightless younger sister Onao; or her clumsy and shy missteps in love (pining for one, and completely oblivious to another). All these experiences, or lack thereof, is shown to inform her ability as an artist, whether as inspiration, education or as a source of frustration (in more ways than one).
Gorgeously animated, the film pays tribute to the art and skill of the Hokusai duo, drawing from the style and palette of their work, sometimes even including some famous pieces as scenic backdrops here and there with knowing wink at the audience. 19th century Edo is stunningly brought to life, but like the floating world of the ukiyo-e that Hokusai produced, it has a dreamlike quality of another world – the film quite vividly employs some touches of supernatural effects as a poetic illustration of this point. The artistic ability of Hokusai and Oei are depicted as being mystical, the duo being basically spiritual mediums, rare individuals who can see and depict this other world for mundanes to see, from capturing the dragon’s twisting, sinewy body and gargantuan claws through the storm clouds, to vividly bringing to life the symbolism and weight of religious imagery, to inspire or terrify. Contemplative and beautiful, “Miss Hokusai” deserves widespread viewing.
5 Jobs in International Education
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Via Carleen Ben (Oita). Posted by Sophia Chan (Sapporo-shi, 2009-2014). If interested in more job listings, join the JETwit Jobs Google Group and receive job listings even sooner by email.
(1) Education Program Coordinator, Study Abroad Curriculum Integration
> The University of Kansas Office of Study Abroad is seeking applications for the position of Education Program Coordinator, Study Abroad Curriculum Integration. Responsibilities include researching and identifying international partners with a strong curricular match to KU’s academic programs, working with academic units to develop major-specific advising and outreach materials, and assessing the success of the curriculum integration initiative on a regular basis.
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> Required qualifications: Master’s degree or Bachelor’s Degree plus three years related experience; two years of professional experience in international education, study abroad administration or related field; demonstrated interest in education abroad with experience living, studying, or working abroad or comparable international experience; previous experience with university administrative structures, offices and procedures; and demonstrated excellent written communication skills as evidenced by application materials.
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> For a full position description and to apply go to https://employment.ku.edu<https://employment.ku.edu/> and search Non-Faculty/Staff jobs for keyword “Curriculum Integration”. A complete application includes a cover letter, resume, three professional references and a personal statement addressing the role of curriculum integration in enhancing international education opportunities. Applications accepted through 11/15/15.
> KU is an EO/AAE. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex (including pregnancy), age, national origin, disability, genetic information or protected Veteran status.
> Arrangements will be made if you have a disability that requires an accommodation in completing the application form or in interviewing. Please notify Human Resources at (785) 864-4946 in advance so necessary arrangements can be made. Read More
2015 JETAA Oceania Conference: Staying Connected
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The JETAA Oceania Regional Conference took place in Christchurch, New Zealand this year, over the weekend of Oct 16th-18th. JETAA Oceania is a meeting of chapters from two countries, Australia (5) and New Zealand (3), as well as the respective country representatives. Australia’s Country Representative, Eden Law (ALT Fukushima 2010-2011) reports on the proceedings of the 2015 JETAA Oceania Conference.
As far as I know, the JETAA Oceania Regional Conference is unique in the JETAA world, where two countries share an annual convention – not surprising, considering the geographical proximity and historically close relations (buddies and often times frenemies) of Australia and New Zealand. This year’s theme is “Staying Connected” – to past and present JETs and JET community, local Japanese organisations and cultural groups, sister city initiatives and of course, with other chapters. Because it’s such a core issue to many chapters, we had a lot to say, discuss and share – opinions, ideas and examples that have work and didn’t. Some ideas:
- Maintaining connections with new JETs by following up after a month to see how they are going. If you have a newsletter, ask for article contributions (e.g. “Best experience”, “Most surprising aspect”, “What I should have packed”). These can also be used as material for the next pre-departure orientation.
- Have a committee retreat – have a mini conference by going away to a nice country location to discuss ideas, plan schedule etc.
- Provide some kind of charity work opportunity to give a sense of purpose and satisfaction
- Market JET Programme as a way to gain transitional skills (e.g. being bilingual means you can see things from different viewpoints)
- Sell JET as a professional development program
- For a fun fundraising idea, have a trivia night where answers/clues can be bought for a small fee. Cheat for charity!
This conference also marks my presentation debut as a shiny, newly minted country representative, which was also the same for my New Zealand equivalent, Raewyn MacGregor. Our presentations were about what we’d do as CRs, considering that the role tended to be re-invented to suit each new candidate’s needs and personality. Apart from trying to reduce the wheel-reinvention aspect by keeping records and procedure documentation, we will also aim to focus on community and communication. To that end, I put forward a proposal to have regular, scheduled Google Hangouts for Oceania to keep in touch and continue the flow of dialogue, ideas and support for each other (and if possible, get some participants from outside Oceania to join in!). We will also look at ways of supporting recent returnees, whether in the form of support, mentorship or career opportunities.
We also discussed the Satogaeri Project and the Tokyo November conference, where Satogaeri representatives from several countries (and AJET) will meet and discuss several ideas, such as next year’s 30th Anniversary celebratory plans, and, most interestingly of all, the possible revival of JETAA International (JETAAI). This chapter had gone dormant for the last few years since losing funding during austerity measures implemented by previous governments. For some of you out there, you may be aware of (or have participating in) the short bursts of email communications regarding this chapter. From the documentation presented by CLAIR at the conference, it’s now clear why this was occuring, as JETAAI’s revival looks fairly certain, with proposed committee members election to be held (presumably with those present). There are other further surprising items on the agenda regarding country representatives, so I’ll await the post-conference report with interest.
On a final note, it became clear that the common ingredient running through all successful ideas was networking – building and maintaining relationships which can be tapped into for opportunities. This does require work and commitment – as is the case with anything worthwhile. You can’t go at it half-arsed if you intend to make things a success, after all. Special thanks go to our great chapter hosts, New Zealand’s JETAA South Island, lead by president Caroline Pope (and NZ’s Satogaeri representative) who ran a very efficient and tight ship, which our visiting CLAIR official from Tokyo even remarked on, as being better organised than recent conferences that he had attended. High praise indeed!
The conference site is still up in the meantime. Check out all the pics and posts on Twitter and Facebook by searching for #jetaaoc.
The 18th Japanese Film Festival in Australia
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Australia’s Japanese Film Festival is the world’s biggest Japanese film festival, with the 2014 program attended by an estimated 31,800 viewers, nation-wide. In November, the film festival will begin in Sydney with over 50 films in its repertoire, with some big tickets items making their world-premier showing outside of Japan. An absolute treat for film lovers, and one you should make your way down under for. Eden Law (Fukushima-ken, 2010-11) gives you the what’s up and the low down on 2015’s 19th Japanese Film Festival.
18th Japanese Film Festival promo video, courtesy of Japan Foundation, Sydney
With so many films available, it can be difficult to decide on which you should spend your time (and your five-movie pass) on. JFF’s organisers have always chosen films to create a carefully balanced program, between thought-provoking drama, to more popular servings of comedy and gore-soaked action and horror – and of course, several anime entries, without which a Japanese film festival cannot be considered complete. Live-action adaptation of popular manga and anime series make a strong appearance – Assassination Classroom (about a class of delinquents tasked with killing their teacher, an almost-invincible tentacled monster), No Longer Heroine (about high school romances) and the rather meta Bakuman, about the trials and tribulations of making it as a manga artist.
In the cult category, Sion Sono – enfant terrible, wildcard, Japan’s Tarantino, what have you – returns with Tag, a surreal (and violent) struggle for survival that takes place through several lives and existence. Yet he surprises with Love & Peace – an equally surreal, but far more light-hearted and G-rated story about realising cherished dreams and singing animals. Not to be outdone, Sono’s sempai Takashi Miike has his high school characters endure an outlandish survival horror scenario as gods play with them for idle amusement in As the Gods Will.
A new Ghost in the Shell is the most exciting entry in the anime category, and should need no introduction. Of special mention is Miss Hokusai, the historical biography of the youngest daughter of the famous printmaker Hokusai, Katsushika Oi. Though little known today, she is said to be not only a talented artist like her father, but also a vivacious woman, full of humour and spirit.
And finally, for those seeking more weighty subject matter, the festival closes out with 100 Yen Love, Japan’s official entry for Best Foreign Language Film at this year’s 88th Academy Awards. Already festooned with awards for best film, director and best actress, this independent film of the unexpected blossoming of an aimless “loser” should be one to watch – yes it’s a sports film, but don’t let that put you off. Of particular excitement this year is the showing of Akira Kurosawa’s classic Ran, restored in 4K format – plenty of hipster cred there.
Check out the website (http://japanesefilmfestival.net/) for more on 2015 JFF, and stay tuned for reviews!
JQ Magazine: Manga Review — ‘Showa 1953-1989: A History of Japan’
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“Shigeru Mizuki has led a full life of hardship and wonder. At the time of this book’s publication, he is 93 and still bringing laughter to many through his enormous body of award-winning work, which is thankfully becoming more available in English.” (Drawn and Quarterly)
By Julio Perez Jr. (Kyoto-shi, 2011-13) for JQ magazine. A bibliophile, writer, translator, and graduate from Columbia University, Julio currently keeps the lights on by working at JTB USA while writing freelance in New York. Follow his enthusiasm for Japan, literature, and comic books on his blog and Twitter @brittlejules.
Showa 1953-1989: A History of Japan is the fourth and final volume of the English translation of Shigeru Mizuki’s manga history of the Showa period. Translated for the first time into English by JET alum (and JQ interviewee) Zack Davisson (Nara-ken, 2001-04; Osaka-shi, 2004-06), the release of this book marks the end of a long journey for us readers. Mizuki took great pains to detail significant events of the Showa period and Japan’s role in World War II in order to preserve a comprehensive look at the time from the perspective of someone who had lived it. He intended this manga history to be a gift for all the generations born in a time of peace. As a reader born in the first year of the Heisei period, I was not even alive for any single event I read about, but nevertheless was moved by the power of Mizuki’s personal and historical storytelling and art to think about world history in new ways. The best part of reading something by Mizuki is you’re in for plenty of laughs along the way as well.
As a refresher for those of you who have been with us from the start, and an intro for those just tuning in, the first volume of this illustrated history of the Showa period in Japan covered the years 1926-1939 and highlighted a modernizing Japan and Mizuki as a child fascinated by spirits called yokai, and almost as importantly, a child obsessed with food. The book chronicled a number of incidents in Japan and Asia that took Japan down the road to World War II that come to a head in the second book which featured the years 1939-1944. This volume devotes itself to capturing the massive scale and harrowing death tolls of air-, sea-, and land-based conflicts in the war, and as time passes Mizuki’s own autobiographical narrative weaves in as he serves in the army. The third volume covers 1944-1953 and sees the darkest parts of Japanese history in World War II, and Mizuki’s own experiences are spotlighted, but it is not without the hope and admiration for humanity inspired from Mizuki’s encounter with the natives of Rabaul. This book also covers the Allied occupation of Japan and the beginning of what historians call “Postwar Japan” in which Mizuki starts down the path that will lead him to manga success and Japan becomes a booming economic power.
Interestingly, the last volume covers 1953-1989, which is 36 years of history and among the other volumes is the one that tackles the longest period of time. It’s also the most varied in its content. The same historical approach to events from a variety of perspectives narrated by either Nezumi Otoko or Mizuki himself persists through this volume, but as TV, movies, and popular culture take on an increasingly larger significance in society, so do strange events take on a more significant coloring in history. Mizuki devotes many pages to portraying abnormal events both comical and criminal that preoccupy the public mind by way of showing how times have changed since before the war. For this reason, the fourth volume at times can sometimes feel like a series of short historical episodes told in manga form, but of course presented in a chronological and unified way.
Event: SAIS Information Session – AGOS Japan (Japan)
Events Comments Off on Event: SAIS Information Session – AGOS Japan (Japan)
Posted by Sydney Sparrow, curriculum and content developer for a real estate school based in Virginia. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.
Intended Audience: Prospective Students
Posted by: Johns Hopkins School of Advanced International Studies
Location: Tokyo, Japan
Date and Time: November 19, 2015, 7:30PM – 9:00PM (local time)
Join Admissions representatives from the top graduate programs of international affairs for an on-site information session. Representatives will present on respective curriculums, career and networking opportunities, as well as admissions requirements. There will also be question and answer period after the presentation.
- Columbia University – School of International and Public Affairs (SIPA)
- Georgetown University – Edmund A. Walsh School of Foreign Service
- Johns Hopkins University – The Paul H. Nitze School of Advanced International Studies (SAIS)
- Tufts University – The Fletcher School of Law and Diplomacy
JET Alum Michael Kotler, a Reischauer Policy Research Fellow at Johns Hopkins School of Advanced International Studies (SAIS), states it’s important to get JET participants to attend these types of programs (whether it is SAIS or some of the other schools) because it opens them up to many new connections that wouldn’t be available on the JET program.
Session Location:
Room 101
Ninomiya Bldg. 18-4
Sakuragaoko-cho, Shibuya-ku
Tokyo, Japan
Event: SAIS Information Session – Tokyo Education USA (Japan)
Events Comments Off on Event: SAIS Information Session – Tokyo Education USA (Japan)
Posted by Sydney Sparrow, curriculum and content developer for a real estate school based in Virginia. Click here to join the JETwit Jobs Google Group and receive job listings even sooner by email.
Intended Audience: Prospective Students
Posted by: Johns Hopkins School of Advanced International Studies
Location: Tokyo, Japan
Date and Time: November 19, 2015, 8PM – 10PM (local time)
Join Admissions representatives from the top graduate programs of international affairs for an on-site information session. Representatives will present on respective curriculums, career and networking opportunities, as well as admissions requirements. There will also be question and answer period after the presentation.
- Columbia University – School of International and Public Affairs (SIPA)
- Georgetown University – Edmund A. Walsh School of Foreign Service
- Johns Hopkins University – The Paul H. Nitze School of Advanced International Studies (SAIS)
- Tufts University – The Fletcher School of Law and Diplomacy
JET Alum Michael Kotler, a Reischauer Policy Research Fellow at Johns Hopkins School of Advanced International Studies (SAIS), states it’s important to get JET participants to attend these types of programs (whether it is SAIS or some of the other schools) because it opens them up to many new connections that wouldn’t be available on the JET program.
Session Location:
