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The East Asia Reconciliation International Film Festival is scheduled to take place at Waseda University’s Okuma Auditorium on July 10 and 11 this year (2021). This event has received support from the All Japan TV Program Producers Association and the Japan Broadcasting Writers Association, both of which have been deeply involved in the script and video evaluations, respectively (https://www.eriff.org/).

The direct catalyst for this film festival was the invitation extended to the then-President of the National Assembly of the Republic of Korea, Mr. Moon Hee-sang, to deliver a keynote report in November 2019. The event was co-hosted by the Waseda University Institute for International Reconciliation Studies and the Korea University Institute for Democracy and Peace. Following the symposium, students engaged in late-night discussions about the future of Japan-Korea relations and reconciliation. One student, who had been organizing a Japan-China-Korea business model contest annually in the three countries, approached me after the symposium, which eventually led to the planning of the film festival.

Even after the President’s departure, approximately 100 students remained in the venue, posing numerous questions. Panelists on stage noted that the President’s proposal marked the first time a South Korean political leader expressed an “apology” to the Japanese people who were hurt by his remarks about Emperor Emeritus Akihito, thereby reviving memories of post-war history and suggesting a “subrogation” approach to improve the strained Japan-Korea relations. This was considered a historic moment. While the actual media coverage differed significantly (refer to “Journalism” Issue 356), I believe the most valuable outcome was the gathering of students at that time. Their voices expressing a desire to contribute to reconciliation were the driving force behind the festival’s realization, bringing together networks of individuals who had supported Reconciliation Studies. Although the final selection results have not been announced yet, over 140 script submissions have been received, not only in Japanese but also in Korean, Chinese, and English.

The festival is being held through small but widespread donations from the general public to the Institute for International Reconciliation Studies and crowdfunding by the East Asia Reconciliation International Film Festival Student Executive Committee. While I have wished for larger donations from industry associations involved in film and television production, due to the lack of track record, this inaugural year has seen cooperation primarily from individuals. However, there is already a gathering of industry professionals called the Asia Drama Conference. During the period when such meetings couldn’t be held due to the pandemic, I hope that the festival will further broaden the scope of reconciliation.

It is often pointed out that Japanese television dramas are less engaging compared to Korean ones. In reality, industry professionals are acutely aware of the need for generational change. Last year, during the Waseda Festival, thanks to the East Asia Reconciliation International Film Festival Executive Committee, I had the opportunity to have a conversation with the renowned screenwriter Mr. Yo Takeyama. We discussed his works such as NHK’s Taiga Drama ” Toshiie to Matsu” and the film “Hotaru” starring Ken Takakura. His stories about the hardships of his early years as a screenwriter without a salary were particularly memorable.

In Japanese society, companies that actually fund the production of dramas and films often hold the actual copyrights, resulting in insufficient income distribution to new creators. As a result, current times see a decline compared to Korean productions. It has been noted that deep-thinking creators find it challenging to emerge. In Korea, if a drama generates 100 million yen in revenue, 10% of that revenue is allocated to the original creator who wrote the script. Similar to how Japanese manga artists employ numerous assistants, Korean screenwriters hire many staff to write engaging scripts. However, Japanese screenwriters are in a position where they cannot fully exercise their rights due to contracts. On the other hand, as the Asian market expands, the revenue from engaging dramas is enormous. In the Japanese market, which has become somewhat isolated, Japanese television dramas may struggle to survive in the future. In fact, dramas like “Hanzawa Naoki” and NHK’s “Bento Expo” are being broadcast in China and other parts of Asia, indicating a new direction for Japanese television dramas.

Whether in films or dramas, reconciliation is one of the universal themes. Building upon the familiar narrative arc of encounters and farewells among parents and children, siblings, friends, and lovers within a shared cultural context—along with the protagonist’s personal growth and eventual reconciliation—it becomes imperative to explore the possibility of creating new forms of reconciliation-themed works that bridge different languages, cultures, and historical memories, and that offer fresh inspiration across borders. (Continued)

Note: This text was originally published in Toki no Hōrei. Minor editorial discrepancies may exist between this version and the published article.