Japanese Experimental Films – the 1970s
20 May 2014
7:30PM - 8:30PM
475 Park Avenue S # 603
New York, NY 10016
|Cost||Suggested donation $10|
Assembled and introduced by Takahiko Iimura
KIRI Sakumi Hagiwara, (1972), 8 min.
A fixed camera photographs a fog-shrouded landscape. At first the screen appears almost totally white, but gradually the features begin to reveal themselves… The film bears a conscious resemblance to sumie paintings.
ORANDA-JIN NO SHASHIN (Photograph of the Dutch) Isao Koda, (1976), 7 min.
Beginning with photographs of his own feet wading in a stream. Koda first establishes a labyrinthian ‘photo within a photo’ theme…
SYNC SOUND Takahiko Iimura, (1975), 9 min.
Following the order of the academy’s synchronization leader which is used for picture and sound to synch, the film adopts the system for its own order (or may be fallen out of order)… The film repeats until all the numbers are replaced by the sounds.
LUMIERE Tsuneo Nakai, (1971), 3 min.
A single shot of the sea, played with an synchronized soundtrack and made to change in color.
FEEDBACK Nobuhiro Kawanaka, (1973), 8 min.
Photographs of a nude, arranged into stop-motion sequences on the left half of the screen, are juxtaposed with a close-up of the film itself passing in front of a viewer, gradually revealed on the right half of the screen…
10 SEC. Ryoichi Enomoto, (1973), 8 min.
A single ten-second sequence by a dancer has been photographed at several speeds, which are then replayed at different speeds with freezes and multiple exposures added…
OBSERVATION Hiroshi Yamazaki, (1975), 10 min.
The film is composed of two sequences: 1) A simple scene of a street corner taken from a window is given the appearance of dawn… 2) Shots of the position of the midday sun on 27 consecutive days, taken through a dense day-for-night filter..
ATMAN Toshio Masumoto, (1975), 11 min.
The title is a Hindu term meaning the World Soul from which all souls derive, or more simply, a principle of life. Matsumoto tried to ‘create’ a microcosm (with a devil figure at the center), by dividing a field into 10 equidistant concentric circles…
“T he proclamation of sensibility was the pronounced feature unifying the disparate films [in this program]: this sensibility is one dedicated to an acceptance of irony as an aesthetic integer. Seeming to duplicate the formal devices of ‘the structural film’, these films develop along a distinct principle of gratification.” – Daryl Chin, “The Future of an Illusion (ism): Notes on the New Japanese Avant-Garde Film,” Millennium Film Journal 1:2 (Spring-Summer, 1978), 87.
Photo courtesy of the organiser/s
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