Scottish listings mag The Skinny has a mini-interview with me about next week’s Scotland Loves Anime film festival. Who will win the Golden Partridge? What mentalism will unfold among the short films? How many Japanese guests can they fit into a single film festival?
So, apparently the new US release of Golgo 13 includes the commentary track that I recorded for Manga Entertainment in 2007. Very glad to see it getting another airing, particularly since two of my commentary tracks were once dropped from a US release because a timid distributor thought Americans wouldn’t get my sense of humour.
More details on my other commentary tracks can be found here.
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.
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.
Try to control your excitement, for I am on a podcast, talking with Jeremy Graves and Jerome Mazandarani on the pilot edition of Manga UK’s new periodical audio chatfest. They wanted me there for behind-the-scenes gossip, or possibly just because they wanted everyone to have a name that began with “J”.
00:00 Introductions and new releases.
11:52 Discussion on how the disaster in Japan last year affected Manga UK and anime in general. Also Chinese works and Asian music.
37:03 News. Topics include the approaching end of the Bleach anime, new licenses to be announced at Birmingham MCM Expo, details on why the release date for Angel Beats was pushed back and an exclusive announcement.
1:02:27 The Manga UK Community segment. Answering your questions submitted via Facebook and Twitter on a variety of subjects. Not all of them sensible.
Mark Schilling’s latest article in Variety discusses some of the issues facing modern anime, including the ever-growing rush to outsource, plummeting demographics and hybrid contents. Yours truly is briefly quoted with a very conservative estimate of the size of the foreign labour pool — Ryosuke Takahashi puts it a lot higher. Schilling suggests that declining numbers of children are responsible for declining numbers of anime, but I do not entirely agree with this, or at least, not with the way that the data is presented here. The peak of production in 2006 was generated by an insanely high investment interest from abroad, which is still playing out today as all the investors sue each other over what went wrong.