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Paper short abstract

My main question is: Is it possible for an adaptation to be faithful to the original? The second point will be the personal relationship between Kawabata and Naruse, and if (or how) this influenced the work of transposing the novel to screen.

Paper long abstract

The Sound of the Mountain ranks among the most important novels of Kawabata Yasunari (1899-1970), together with The Dancing Girl of Izu (Izu no odoriko, 1926), Snow Country (Yukiguni, 1935-37), and Thousand Cranes (Sembazuru, 1949-51). Kawabata and Naruse Mikio (1905-1969), six years his junior, were acquainted since the early 1930s, and they appreciated each other. Like Tanizaki Jun'ichirô (1886-1965), Kawabata was interested in cinema and participated actively in the production of some films. Their relation might have had an impact on the Naruse's films.

In 1935, Naruse adapted Kawabata's Sisters of Asakusa (Asakusa no shimai, 1932) to the big screen; followed by The Dancer (Maihime, 1950-51, 1951) and The Sound of the Mountain, making Kawabata the second important writer for Naruse, after Hayashi Fumiko with six adaptations.

After general remarks on the relation between text and film, this paper will discuss both works in detail, comparing them for similarities and differences. Special attention will be given to the genesis of the works, since the film was released in January 1954, that is before the publication of the novel was completed (it was serialized from 1949 until March 1954).

Major issues of the conclusion will include the issue of faithfulness of an adaptation to the original work, its importance (or not), and the problem of adaptation in general.

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Paper short abstract

This paper analyses the Japanese film 'A Cuban Lover' (Kyûba no koibito, Kuroki Kazuo, 1969) exploring its representation of the Cuban Revolution and the transnational dynamics regarding its production, distribution and exhibition.

Paper long abstract

This paper is part of a larger project examining the cinematic connections between Japan and Latin America during the second half of the twentieth century in terms of production, distribution and exhibition practices as well as what is represented in films. On the one hand, this project aims to explore the transnational dimensions of Japanese cinema in the specific geographical and cultural contexts of Latin American countries expanding the scope of research beyond the area of Asia, United States and Europe. On the other hand, its goal is also to analyse the relationship between Japan and Latin America cinemas taking into consideration their historical and political position in the global arena, in particular regarding the Unites States and the Cold War politics.

As a case study of the Japan-Latin America film connections, this paper will analyse the Japanese film 'A Cuban Lover' ('Kyûba no koibito', Kuroki Kazuo, 1969) looking at the transnational dynamics regarding its production, distribution and exhibition as well as its representation of the Cuban Revolution. Self-financed independently by Kuroki, in collaboration with the celebrated documentary filmmaker Tsuchimoto Noriaki, and unofficially co-produced with the Cuban Institute of Film Art and Industry (ICAIC), A Cuban Lover was filmed in the Caribbean island in 1968 with a very small, mixed team of Cuban and Japanese cast and staff. The story depicts the romantic relationship between a Japanese sailor and a Cuban revolutionary girl constructing a naïve, energetic portray of the Cuban revolution. Despite the film production efforts and the media interest, the film, however, was never exhibited in Cuba, whereas in Japan, it received a limited non-commercial release supported by the Japanese Communist Party. In this sense, A Cuban Lover offers an excellent example to examine the industrial interactions and political connections between the cinemas of these two islands.