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Rising Sun

Rising Sun is a landmark 1980 Hong Kong documentary directed by Kong Chi-Man and produced by Edko Films. Featuring rare black-and-white archival footage from Japan, the United States, and global institutions, it offers one of the most comprehensive screen chronicles of the Pacific War. The first half focuses on the Second Sino-Japanese War, including the atrocities of the Nanjing Massacre, the Battle of Taierzhuang, and the heroic Defense of Sihang Warehouse, capturing China’s immense suffering and resistance. The second half explores the Pacific theater, depicting Japan’s clashes with the United States across key island battles and the catastrophic impact of modern warfare. The film closes with the haunting image of the atomic bomb, a stark symbol of the war’s devastation.

Rising Sun

NR 1980
A Terrible Tiger

A novelist feels the limits of his talent and can no longer write at all. He is lynched by his editor, surprised by a zookeeper that a tiger has escaped, abused by a literary girl, and finally attacked by a real tiger. This ridiculous and tragic story is made into a unique comedy of the absurd through a combination of extremely deformed acting and imaginative visuals, far from realism. In particular, the powerful cutting of the same subject over and over again, from different angles and in different sizes, creates a unique expression, which, combined with the excellent locations, results in a wonderfully calculated fictional space. The use of music is also full of contemporary sensibility, and the combination of music and the scene at the industrial complex is superb.

A Terrible Tiger

NR 1986
Self Portrait

In this video performance, Imai takes a snapshot of his own face displayed on a TV monitor using a polaroid camera. While the videotape records his performance, he takes out one end of the open-reel video tape from the tape deck, staples his photograph directly on the videotape, and pins it on the wall until the videotape runs out completely. The still photographs of his face are attached to the loose bundles of videotape, which is a material record of the temporal duration of his performance.

Self Portrait

NR 1982
Man from Pyeongyang

When the Araki gang harass Bok-Sun, Chil-Bok kills Araki by heading. Bak Jang-Sohn hides Bok-Sun and Chil-Bok in danger. Japanese policemen arrest and send Chil-Bok to prison and Park Jang-Sun run away. Released from the prison owing to the liberation of the country, Chil-Bok punishes the scoundrels with heading. And because of it, he meets Bok-Sun again but she runs away from him. Song Dal-Su dominates the underworld of Seoul and goes to Pyeong-Yang Myeon-Ok and beats off Park Jang-Sohn for he's been afraid of him who knows about his past. Chil-Bok meets Bok-Sun through a pickpocket's arrangement and hears from her about Song Dal-Su. Chil-Bok makes Song Dal-Su give in who is the foe of his father and lover.

Man from Pyeongyang

7.0 1983
Doraemon’s Heart

This ambitious work by Akihiko Sekimata takes a remarkably straightforward approach to creating a live-action adaptation of the beloved national icon, Doraemon. The somewhat bewildering ambiguity of whether Nobita and his friends are supposed to be elementary school children or university students ultimately gives the film a peculiar originality of its own. The warm, gentle atmosphere that permeates the entire production captures the familiar spirit of the Doraemon universe so well that it became a major hit when it was first screened.

Doraemon’s Heart

NR 1987
Shadow Stepping

I filmed the video as if playing with shadows, listening to the birds singing on the top of a small hill and feeling the height of the sky from the sound of airplanes passing overhead. I filmed and edited the video in three parts. I came up with the next video from the first edited video and filmed the second video, and then came up with the third video from the second edited video. It took me a year to complete it, but it felt like a year of struggling to write a haiku. I used natural sounds recorded live on location without editing, but it was strange how they somehow matched the edited footage as if they were calculated.

Shadow Stepping

10.0 1983
A Man Playing Movie

"Jun'ichi Okuyama is a cinedoer." Jun'ichi Okuyama plays making a film from the material and accidents that gradually disrupt the natural recording of the camera. It all starts and ends with the noise of the projector. Landscape sequences gradually undergo interference and rhythmic interruptions of one hand, of a reel in motion and then of a crack passing through the photogram from one side to the other, are all tangible signs of the presence of the filmmaker. The universe breaks up and recomposes in this back and forth between reality and its "in the movie" reflection.

A Man Playing Movie

NR 1987