--- EnteredBy: Kevin Murray DateEntered: [[2022-02-25]] Comment: Publish: true --- >[!NOTE]+ Meta Author:: Marty Gross Reference:: https://garlandmag.com/loop/the-mingei-film-archive/ Date:: 2022-02-23 Tags:: #Japan #film WeftLinks:: [[Reinventing the Wheel]] ### Summary What can film tell us about craft in previous times that cannot be learnt in books? How should we manage this fragile heritage of celluloid scattered around the world? Since 1974, Marty Gross has restored archival films on Japanese arts and crafts (such as The Leach Pottery, Mashiko Village Pottery, Japan 1937). The Mingei Film Archive now offers an opportunity to consider the unique role played by film in our understanding of craft history. As well as Japan, Marty has material from Korea, India, Australia, New Zealand and England. The challenge now is to build a global database of craft film. He is currently working with Owen Rye on a commentary of Shoji Hamada’s historic demonstration of throwing at the Powerhouse Museum. This very special event helps us open our eyes to what it is that constitutes knowledge. While we take for granted that knowledge is manifest in the printed word, this sits awkwardly with the manual arts that are more evident in action. Film has much potential not just as a record of techniques but also as a glimpse of the broader context for what is made. As we'll see today, this has particular value in celluloid for its insight into a world before the screen. We're blessed to have with us the founder of the Mingei Film Archive, Marty Gross. I've been a long-time fan of the film restoration work of Criterion, particularly their Kurosawa titles. This was largely due to the work of Marty Gross, who played a key role in their production. Since 1974, he has also produced and directed his own films, such as As We Are, Potters at Work and The Lovers' Exile. Alongside this has been his dedication to restoring heritage film of Japanese crafts as part of the Mingei Film Archive. Beyond its insight into Japanese life, this archive offers a model for other craft cultures. It's a call to dust off the film canisters and ensure that we retain this glimpse into the black and white world of focus, community and hard work. ##### Discussion Marty spoke about the varying state of health in celluloid stock. In some cases, it is not washed properly which means that there can be decay from residual chemicals. The Mingei Film Archive involves not only restoring the film and transferring to a digital medium, but also finding witnesses from the time who can reflect on the content. This often results in a "back story" that reveals the interests at play behind the scenes. In our discussion, another layer was added with the participants in this session reflecting on their encounters with the figures featured in the film. The Yanagi Dartington Hall lecture was remarkable for the lack of moving image. Instead, we could listen to his lecture while reading the works on the screen. This facilitated a deeper reading of his words, informed by his personal speaking style, which seemed very upper-class English. There was a call for the gathering of more celluloid material, languishing in dusty film cannisters. These films are an indication of the unique memory that is preserved on celluloid. https://www.martygrossfilms.com/ <iframe src="https://www.youtube.com/embed/rpEkFwEcwEU?feature=oembed" height="113" width="200" style="aspect-ratio: 1.76991 / 1; width: 100%; height: 100%;"></iframe>