A lovely article has just been posted on the Smithsonian blog, outlining the odd life and hateful rumours about Empress Wu. There are a couple of quotes in there about shagging slave girls and barbecuing sheep, lifted from that book about her by one Jonathan Clements.
I think the article gives a remarkably good account of why she is such a fascinating subject, even so many centuries after her death.
God bless YLE, Finland’s public service broadcaster, for its ever-innovative ways of spending the TV licence fee. A malicious puppet show about national icon Carl Gustaf Mannerheim was apparently not enough. Now YLE is shelling out for an arty Swahili film, The Marshal of Finland, about Mannerheim’s love life, in which all the parts are played by Africans.
The Finnish right wing is having conniptions. I’m rather looking forward to it. How much of Mannerheim’s incredible life and bizarre adventures would translate to Kenyan locations? How might a black actor capture the character and hauteur of one of the whitest men in history? As far as post-modern drama goes, this is surely a world-class bonkers idea. It might even work. And if it doesn’t, it’s going to be the biggest car crash in the history of television.
Someone had a meeting about this. A group of earnest Finns sat around an Ikea table and picked at biscuits from a MariMekko tray, while a crazy-haired producer said: “Also, there’s a bunch of Kenyans who want to shoot a movie in five days about Mannerheim’s life story. In Swahili. Sounds great, right?” Nor is this likely to have been some manifestation of the deluded hyper-inclusionism of the BBC, which recently decided The Hollow Crown needed to have a black Duke of York. No. Someone at YLE thought this would be a really great idea, and they will either be running the channel soon, or looking for a new job.
The Finns are so animated about Mannerheim that nothing really surprises me any more. When I wrote my book about him, concentrating on his relationship with China and Japan, the Finnish translation was actually published a week ahead of the British “original”. Mrs Clements and I often play Mannerheim Bingo in Finnish bookshops, trying to guess what odd spin on his life will be the next to get published. There has been a comic about his tiger hunting days. There has been a (rather good) Mannerheim cookbook. And the aforementioned puppet show, which claimed he had a Kirghiz catamite, and showed him partying with the Grim Reaper during the battle of Tampere. But that’s a problem with being a national icon; you need to be robust.
I will definitely be tuning in for Black Mannerheim, but that’s because I am a Mannerheim fanboy, on the record as saying that he is one of the greatest figures of the 20th century. But one can’t help but wonder what the real agenda is behind this. Is someone at YLE making a post-modern point about icons and heroes, or is this that other recurring element of Mannerheim’s legacy — the substantial number of Finns whose ancestors were defeated Reds, and who can’t resist the chance to carnivalise his memory in ever odder combinations. If so, Mannerheim is sure to survive this latest assault on his dignity. Mannerheim’s enemies had a field day with the animated Butterfly of the Urals, because its vague and unsupported insinuation about his sexuality became a swift-travelling meme among young idiots who never saw the programme, but liked being able to repeat the new “rumour”. But there is no such message here — instead, its artistic heritage is far more likerely to be a restatement of a truth that many Finns already acknowledge, that Mannerheim’s story is so amazing, and so eternal, that even actors in distant Kenya are inspired by it.
Jonathan Clements is the author of Mannerheim: President, Soldier, Spy.
My review of Duke University Press’s Pikachu’s Global Adventure is up now on the Manga UK blog.
For those that didn’t see it, my obituary of the animator Akira Daikuhara went up online at the Manga UK blog the day after the Japanese animators’ union announced his death. I’d been interested in him for a while, mainly because he was as “old as anime itself”, but also because I realised that he had been edged out of many histories because nobody knew how to pronounce his name. Honestly, I am still not sure myself.
Comic Con chats and ninja nonsense, in the Manga UK podcast
00:00:00-00:40:00 : Discussion on San Diego Comic Con, Japan Expo, MCM Manchester Expo, new acquisitions by Manga UK and more. Jonathan reveals that his Animefest speech is now available to view online.
00:40:00-00:55:45 : The upcoming Ninja Scroll Steelbook release, and history (or lack of it) of ninja. An unexpected digression into English chroniclers of the Dark Ages, while discussing men in black chucking knives at each other.
00:55:45-1:04:15 : Discussion on the Fullmetal Achemist Sacred Star Of Milos premiere in London. Hotel woes, and grateful acknowledgement of the little clicky box on a Radisson booking page, which allows to avoid the embarrassment of making your guests pay for their own room.
1:04:15- 1:50:04 [end] : Ask Manga UK featuring questions on licensing, how Dragonball Z Season One has done since its release, life changing anime, old 90’s videodubs, Madoka Magica and much more.
Available to download now, or find it and an archive of previous shows at the iTunes page.
The Czechs have uploaded my keynote speech “Wrong About Anime” from Animefest 2012 in Brno, which they have impressively shot on two cameras and then subtitled in both English and Czech (press CC).
In the new issue of Animation: An Interdisciplinary Journal:
Despite the attention paid by Japanese animation historians to cartoon propaganda films made during the Second World War, twice as much animation may have been produced in the period for military instructional films. These films, now lost, were made by a group of animators seconded to the Tōhō Aviation Education Materials Production Office (Tōhō Kōkū Kyōiku Shiryō Seisaku-sho). Occasionally running for five or six reels (c. 48 minutes), and in one case consisting of a feature-length eight reels, they form the missing link between the one- and two-reel shorts of the 1930s and Japanese animation’s first feature, Momotarō Umi no Shinpei (1945, Momotarō’s Divine Sea Warriors). The films included tactical tips for the pilots who would bomb Pearl Harbor, short courses in identifying enemy ships, and an introduction to combat protocols for aircraft carrier personnel. This article reconstructs the content and achievement of the Shadow Staff from available materials, and considers its exclusion from (and restoration to) narratives of the Japanese animation industry.
“Hello, tech support.”
“Hello, this is the Ibaraki Film House here. We’re having trouble getting the film to play.”
“Have you tried turning it off and on again?”
“It’s not a digital film. It’s a film film.”
“Oh, right. Don’t you have a projectionist there?”
“What’s a projectionist?”
“A projectionist is the person who receives the cans of film, counts them, splices them if necessary, loads them on the plate, unspools back into 2000 foot reels…”
“What’s a reel?”
“…replaces the bulbs if they go out. Checks for dust.”
“How do you get dust on a film?”
“Well, in the case of Macross Plus, someone actually used one of the canisters as an ash tray for a few weeks. That didn’t help. So have you got a projectionist?”
“You must mean Ken the Booth Usher?”
“What’s a Booth Usher.”
“Well, he’s the guy who makes the film start, you know.”
“Aha! So he must be your projectionist.”
“Well, he serves popcorn and hotdogs… and then when it’s time for the film to start he…”
“Goes into the back room and presses Play?”
“Er… Yes.”
“Okay, I think I see the problem. You see, you have what’s called a state-of-the-art cinema.”
“Yes we blimmin’ do.”
“And the trouble is, that a state-of-the-art cinema, in the eyes of many corporations, is simply a giant DVD player with a hotdog seller outside.”
“You say that like it’s a bad thing.”
“Well, it is if you are having a… are you having a film festival?”
“Yes, we are!”
“So you’re showing some old movies?”
“Some of them date back to the late nineties!”
“The 1890s?”
“No! The 1990s!”
“And let me guess, they’ve arrived in big round cans full of black plasticky stuff in long strips.”
“Yes! So can you tell us what we need to do. We can play DVD, Blu-ray, Digibeta, HDCAM, full-on digital…”
“Do you have a pen and paper? Okay, good. Write this down: ‘Invent time machine. Go back ten years. Remember to keep training projectionists.’”
Jonathan Clements is the author of Schoolgirl Milky Crisis: Adventures in the Anime and Manga Trade. This article first appeared in NEO #99, 2012.
In approaching a text in Classical Chinese, we must consider the immense differences between books and reading in our time and in that of the Art of War. There was, in ancient China, no such thing as our “book”. Classical Chinese was usually carved onto bamboo strips bound together with leather or string. Their physical appearance was closer to that of a modern rolling window blind than a “book”. One of the problems faced by modern archaeologists is the reconstruction of books from scattered fragments of bamboo – when the leather straps or connecting string decays, ancient Chinese books collapse into hundreds of scattered strips of unpaginated bamboo.
Many translators have overlooked the performance required from Classical Chinese texts. Classical Chinese is a literary language that often summarises the vernacular rather than directly quoting it. The meaning of Classical Chinese has to be unpacked and interpreted. We might consider the written Art of War less as Sun Tzu’s “book” than as his notes for a speech or for further discussion.
The first words of the text, repeated at the head of each chapter, are “Master Sun says.” Everything that follows is implied speech, delivered to an implied listener: a local king perhaps, or a group of officer cadets. This is surely the origin of many of the text’s apparent repetitions: not the meanderings of a forgetful author, but moments of call and response by a commanding orator. “This is how war is waged,” says Sun Tzu at various points, an antiphon to wake up the students at the back, just as he makes an important point. The reader is encouraged to read it out loud; it is often a text better heard than read.
While handmade copies certainly might circulate of the better known texts, the best way for a ruler to “read” Sun Tzu was to have Sun Tzu’s words spoken, in person, by Sun Tzu himself. It is such interactive performances, in which a monarch might question a philosopher during and after a reading of the philosopher’s work, that have generated the many conversations and interrogations that can often be found interpolating classical Chinese texts. There is the original, and then there are the conversations and responses inspired by the original, and then sometimes there is the revised manuscript incorporating such conversations, followed in later centuries by the annotations of others. In such a way, ancient Chinese books often bear a closer resemblance to academic working papers, and are less “published” than they are placed on a continuum of revisions and facsimiles.
From The Art of War: A New Translation by Jonathan Clements. Out now in the UK and the US.
The Official Schoolgirl Milky Crisis Blog 