As open educational resources (OER) expand in the US and elsewhere, attention should be paid to the challenges of implementing OER and solutions to those challenges. OER currently hold great promise for instructing students in K-12 (secondary) and primary school classrooms, because -unlike traditional curriculum materials -OER content can legally and freely be copied, used, adapted and reshared by anyone. Notwithstanding the benefits, OER developers have not yet worked out certain structural issues that can make it difficult for teachers and students to use OER, impeding the adoption and broader acceptance of even the best designed OER curricula. Links which disappear over time, device management, data and privacy concerns, quality, scope, sequence and alignment challenges, copyright issues and sustainability of OER curricula are all challenges that advocates of OER and curriculum designers often miss, ignore or avoid. These challenges, however, can be overcome through thoughtful planning and partnerships, as has been done in the US with the successful Louisiana Guidebooks and other OER course materials.

In this article, I explore a set of poetic works from early 20th-century Japan that took cinema—films, movie theaters, screenings, sets, and a variety of cinematic technologies—as their main subject. An enormous range of poets, including some of modern Japanese poetry’s most canonical figures, took a diverse set of approaches to the subject matter, but all were less interested in portraying films themselves, and more in how poetry could use “cinema” and the “cinematic” to grapple with questions of memory, media, ecology, the body, and social change. Looking at these works—most of which appear here in English for the first time—we can find a new archive of early cinematic thought and sensation not bound to the screen.

This article explores the work of the poet Yokota Hiroshi, a leader in Japan's disability rights movement, and how he used his experiences of having cerebral palsy to create a new kind of disability poetics. Like in much of the world, Japan in the 1970s saw the emergence of disability movements that aimed to challenge the inaccessibility and cruelty of a society made by and for nondisabled people. Yokota was involved with two key groups of this kind—the literary coterie Shinonome and the activist group Aoi Shiba no Kai—and over several decades published multiple books about the ideologies that justified killing disabled people and the construction of disabled society and culture, as well as several books of poetry. In his poems, he aimed not only to shed light on the oppression and dehumanization of disabled people but to rethink dominant conceptions of embodiment and “able-bodiedness” itself.

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