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Parapsychologist and magician Mr Maric visits Bali and exorcises a demon from a young girl.

It is one of the film of Yalashung's first screening event, "Film Madang," and an 8mm film directed by Moon Won-leep and Kim Dong-bin.

Nakamura’s trademark repetition technique and variety of moving-image materials convey hints of a mysterious and transgressive narrative. The textures of desire and death stirring within the tableau-like arrangements of figures embody the underlying tone that pervades Nakamura’s films.

The film is in two parts and focuses on the Mongols living in the Inner Mongolia Autonomous Region of China. Part One (28 minutes) follows the life of a nomadic Mongol family on their yearly journey following their herds across north China. Part Two (28 minutes) gives a more contemporary view of the Mongols trying to reclaim the desert in a more sedentary lifestyle currently encouraged by the Chinese government. The second section highlights disturbing environmental issues regarding the destruction of these northern grasslands.

Opening animation for URACON II.

Short film by Shin Harada, 8mm. A video work produced for the birthday of Masahide Nokuni, a friend of the Kita Senri High School Film Studies Department.

A young girl named Mu lives alone on the roof of a building. She is a whale from the sea. She has a black back and a white belly. One day, her back wants to meet her belly." Eventually, the girl's inner world slips away to the outside... This is a problematic work of "women's cinema" that reconstructs the subconscious of a young girl who is changing into an adult with symbolic images. Based on a psychological approach, the film weaves a unique fairy tale or nightmare with a multiple structure.

A beautiful abstract image is created by shining light from various angles, changing the colour of the light, and moving the camera horizontally and vertically on a vast number of polka dots and marbles. The beads change colour and shape to create a symphony of images. This experimental work achieves a crisp rhythm and the fresh texture of water drops through precise technique and calculated screen composition.

The work of throwing the vector of one's own emotions into the heart of another person, and the work of "surveying" a disorderly land, maybe infinitely similar. Yamanaka, an aspiring novelist, moves into the lodgings of his friend Nagai. Nagai's younger sister, Yae, also comes to Tokyo, and the three of them have three different vectors to throw. However, through the making of Yae's video, they gradually come to understand each other's feelings. The director's skill is excellent, making the most of the characters by placing them in the right places. Through trivial everyday events, the film portrays three people who have been unable to communicate with each other coming to terms.

A Korean animated movie about a boy and his alien friend possessing supernatural powers.

Early film by Chinese documentary filmmaker Kang Jianning. Whether it's a feature or a short is not known.

In the 1970s, the wave of modernisation hit the Orchid Island (Lanyu). Warship Rock, Double Lion Rock, Lover’s Cave, the wisely and artistically designed tatala (traditional fishing boat), along with the Tao people’s amazing fishing skills were well-known by the public through the growing tourism, yet the small island of Lanyu and Tao people’s indigenous ways of life still remained a ‘spectacle’. When the documentary film crew arrived with curiosity and good intentions, what stories would they tell together?

Short film by Itaru Kato

8mm film by Ohtani Jun

This film was very delicate to process because of the static electricity that sucks up dust. The filmmaker wanted to keep on the screen a kind of dust protection that would be the equivalent of human eyelashes. This is why eyelashes appear continuously throughout the film. The image of the comb, which gradually becomes a musical instrument, was also indispensable. The dust gradually covers the image. The sound is also dusty. Suddenly, the image splits in two and the time of the cinema begins to double.

Early short animation by Koji Yamamura.

After the first bank robbery in Taiwan happened in 1982, the three oligopolistic TV stations repeatedly screened the surveillance video of the robber LEE Shih-ke carrying a gun and crossing the bank counter. To the director, LEE’s action symbolised the transgression of law and the reclamation of his right of name.

At the middle of Koryeo Kingdom, His Majesty Baek Hyo-Si embosses the Sorim martial art technique at eighteen pieces of beads and keeps it with his body to infiltrate into the land of Koryeo Kingdom. Being aware of such a plan, Ma Ryong-Dae, a Mongolian General, attempts to deprive him of the beads and kills him. The beads is hidden in a reservoir. Twenty years later, Baek Kung, His Majesty Baek's son, who has practiced martial art in the mountains, comes to the town to look for the beads. Then, a man named Mo Ran chases Baek Kung secretly. One day, Ma Yong-Tae succeeds in getting the beads. Baek Kung fights against Ma in order to deprive him of the beads. He recovers the beads thanks to Mo Ran's help. Mo Ran is a girl who was engaged to Baek Kung at her young age.

Dong-Seok tries to live a new life giving up violence, but the detectives doubt him because he is an ex-convict. His son Young-Cheol ignores the dream of father and quits boxing because he discredits in him. Young-Cheol begins to box again, after he realizes that he has a limited life. Dong-Seok is involved in the vicious gangster again on the match day of Young-Cheol in order to make money for a gymnasium. While Young-Cheol wins the match, Dong-Seok is killed by the gangster, after that he buried the gold bar.

In World War Two, Kim In-Ho stays as a student soldier in the Philippines. Thirty years after returning to Korea, he receives a letter from his previous lover (Ferra) to come to the Philippines. When he arrives at Manila city, he is suspected to kill both Filipino lover of the commander (Iwa Buchi) of the Japanese Army's military police and father of police lieutenant (Jun). But, police captain of Interpol Jerald, police lieutenant Jun, and police sergeant Hoiri suspect that both Iwa Buchi and Johanson (nightclub owner) may be criminals. Iwa Buchi is eager to get information from Kim who concealed great amount of gold ingot at the Valley Datsin during the Japanese rule in the Philippines. For this purpose, Iwa Buchi kidnaps Ferra, while police lieutenant Jun and police sergeant Hoiri are involved in the case. When Iwa Buchi and Johanson deliver the gold ingot to Kerra, or the head of an international crime group, Jun defeats them and recovers it.

Dong-min rejects the idea of following in his father's footsteps and take over the successful family corportation. Instead he runs away to Whale Island to be a writer. There he meets Sang-il who resembles him very closely. Because he has been out of the country for the last 15 years, Dong-min believes it is possible for Sang-il to take his place without even his family suspecting. Everything seems to go well at first, until Sang-il starts to fall in love with Dong-min's sister

In the border area of ​​the Goryeo Dynasty, Wangsancho was renting out the market and exploiting the rent. Horyong, the son of Wangsancho, returns as a master of the world, and is angry with his subordinates who did not meet him, and is humiliated after fighting with Seolgung at Gaekzan. Horyong meets her Geum Nyeo at her abandoned house, and her Geum Nyeo imprisons her father's enemy, Wang San Chou's son, in her coffin.

Fighting Life is a remarkable film rejoicing the spirit of life. It is the dynamic tale of two brothers who overcome immense physical and emotional handicaps, and become vital members of society

The 16mm film sketch "月蝕" was copied directly onto 8mm film and remade with new material added.

Often regarded as Kondo’s culmination, this is perhaps the most absurd and directionless anthology film produced by the Film Research Club. Its highly original, strangely deadpan tone somewhere between deliberate humor and unintended awkwardness leaves viewers both baffled and oddly compelled to watch it again.

This is the only film directed by Yuko Ōtsuka. While it does have a narrative, it is essentially an image film built around the character and screen presence of its protagonist, Mr. Nojiri. Throughout the film, the beautiful Kodachrome location photography and carefully selected soundtrack come together to create a distinctive and evocative world of their own.

Shinji is an unremarkable college student. Once again, he’s spending the day with his equally uninspiring upperclassmen and part-time coworkers, drowning their frustrations in drinks and complaints. Well, that would be the plan except Shinji can’t handle alcohol at all. When his senior, Doichi, forces him to drink a concoction of mixed alcoholic beverages and shouts, “Quit stuffing yourself with consolation parfaits and drink!”, things take an unexpected turn!

One film when passed through two projectors the film will be shown on two screens in a multi-screen format. There is a time difference between the two projectors due to the distance between them. One person on the left and right screens. It looks as though they are enjoying the conversation. It is an installation and performance piece.

Educational Technology Seminar “Practical Training in Educational Material Production Using 8mm Film” Assignment 1984 8mm Film, an adventure chronicling the expedition of the "Kawaguchi Sisters" as they search for mysterious indigenous inhabitants along the Motoarakawa River.

When I look up at the night sky, I sometimes feel like I am on a planet called Earth. During the day, plants communicate with the sun. Spiders climb the sky. I wanted to try carefully editing footage of the natural world around me, so I repeatedly shot and re-edited it, like solving a puzzle.

“Film images are projected when light is emitted from the projector lens and reaches the screen. The projector and the screen are connected by a beam of light. If you block this beam with a white board, images are projected onto it, and these images are a cross-section of the beam of light. The beam is like a Kintaro candy: you can intersect it at any point and the same images will appear. I wanted to make a film that was like staring at this cross-section of the beam of light - like staring at an image that, after being emitted from the projector, is in the process of floating toward the screen.” (Isao Kota)