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Experimental short by Takashi Nakajima.

Bunkyo University Film Study Club 1979 8mm Film Production.

This work was created by wondering if it was possible to make a fisheye image with a 16mm camera, and realizing that it was possible with a wide-angle lens and a wide-angle attachment, I found such a lens combination. Almost 150 degrees of the circumscribed fisheye. Because the fisheye lens replaces the hemisphere of the field of view with a flat surface, the image becomes circular, creating a centre and periphery. Using this as a metaphor for the structure of the world, the film is a statement of the artist's thoughts. The music is borrowed from Mayumi Gorin and T. REX's album. Produced in 1975. The artist was 40 years old. (Suzuki Shiroyasu).

Starting from May 30, 1979, Imai took a Polaroid photograph of himself every day, holding a photograph of himself taken a day before in his hand. Initially began as a simple action to replace the practice of writing a diary (which he found difficult to continue), Imai has been able to continue this daily action to this day and plans to continue it until the end of his life. In this work, Imai’s daily photographs that he had taken from 1979 to 2004 are sped up to appear like a moving image, akin to an animation.

Experimental short by Takashi Nakajima.

In 1976, a year before the issue was still being discussed in the media, Yamamura and his crew visited Horie-cho, Edogawa-ku, the “town of hexavalent chromium,” and, based on Tsuchimoto's extensive data, traced the chromium that was dumped in various places in the Tokyo metropolitan area since the Taisho Era.

This film centers on the construction of a traditional style house, their houses being not only very distinctive but also figuring prominently in religious ritual. The houses were rectangular and pole-framed, thatched with Miscanthus or bamboo-leaf; the doorway was protected by a skin or woven hanging and various parts of the house, such as the hearth and a window on the eastern side, would serve ceremonial purposes.

Using film as a medium, Umebayashi uses a clear style to depict the fragile, crumbling images of light and shadow that threaten to disappear. Because of the silent nature of the film, you can hear the rhythm and melody in the spectacle of light unfolding on the screen. When the director himself shows the film, he freely controls the speed of the projection to create the effect of a live performance.

Experimental short by Takashi Nakajima.

Experimental short by MAJYOLICA

A four-part visual poem depicting a journey of self-discovery through film that began after a psychedelic experience.

In The Recognition Construction, each subject entering the frame is identified by a narrator, while the video camera slowly rotates. As the rotation speeds up the identification becomes more difficult, and the objects ultimately become "indecipherable."

A serious comedy about Sabu, who is all talk and no action, Kenta, who is all mumbo jumbo, and Shujiro, who is always taken in by the two and makes a fool of himself.

An experimental film from Japan that dissects and reconstructs the nature of movement on film through the use of a 10-second sequence of a dancer.

Documentary

The love story between a girl whose parents were murdered and a murderer known as a demon.

This feature-length documentary explores the origins and history of Noh theater in Japan. Noh theater is an ancient Japanese classical art-form: austere and highly mythological. For a very long time, it was only performed before aristocrats and the Imperial court. An evening of Noh drama will invariably include a tale of exile, a tale of tragic love, and a ghost story. Often the plays will contain all three. Like many other classical Japanese art-forms, even the stage scenery in Noh is sharply circumscribed and defined; a bridge, a platform and a pine tree must somewhere be in evidence. While the plays may last as long as in more accessible forms of theater, the dialogue in Noh plays is very slim. The stories move slowly and elegantly to their (usually tragic) conclusions, and are enacted with stunning elegance by actors who often wear masks.

Using video technology as an extension of his body, Yamamoto interacts with a pre-recorded image of his hand displayed on a monitor.

Experimental-diaristic film about his child by Iwata Kazuo of Film Syndacate

This was test footage that was going to be used in other projects like Born Free: Dionsaur Expedition (1976-1977) and Izenborg Ace (1977-1978).

This work produces complex flicker patterns by splicing together four types of footage, consisting of shots of the exterior of a factory during the day and at night, in positive and negative versions. Nakai created a masking film with a calculated pattern of black and white frames into which he inserted positive and negative images and made a print out of two separate rolls of film. “Images of an industrial zone in constant operation day and night are utilized with the sense that it encapsulates both the beginning and the end. Scenes shot from morning to evening and then from evening to morning are divided into negative and positive frames, resulting in four types of images that intersect, manipulating the effects of film processing on perception.” (Tsuneo Nakai) Two versions of the film exist: 13:40 mins at 24 fps and 20 mins at 16 fps.

I combined a mostly still photo (a person and scissors) with a series of photos (fingers) that show a lot of movement.

By re-shotting several still photographs in 8mm, the film gives movement to the supposedly motionless still images and uses zooming and other effects to lure the viewer into a surreal world where a man's "face" rotates in time and space. While using the usual methods of depicting an unrealistic world, each movement of the subject successfully creates a rhythm in the image that brings this work to a certain level.

Hisato and Takao set their sights on Saki, a wealthy young woman who looks like an easy target to squeeze money from. Pretending to suffer from an incurable illness, Hisato approaches her and manages to gain her trust. Meanwhile, Takao tells Saki that he wants to self-publish a collection of children’s stories that Hisato has been secretly writing, and successfully tricks her into giving them one million yen.

At the screening venue, making a film while it's being projected. It is the {original live film}. Painting on a loop of snooker film, screening will be held. Even now, sometimes, in 16mm, do a live performance. It is a long-lasting work.

"Outrage" is a work for which I developed a reversible film using a negative-processing bath. While developing it, I used my fingernails to scratch the emulsion. It was a monochrome film, but when I applied the fixative, the scratches turned yellow.

Short film by artist Kosai Hori

The inside of the screen is a fictional space separated by a frame, and the screen is the surface of that fictional space. I created this piece with the idea of ​​trying various approaches to that surface from within the fictional space. Sliding the surface sideways, grabbing it and taking it inside, or conversely, making what's inside match the surface. As for the technique, I cut and pasted together a series of prints onto paper to create a series of photographs that corresponded to the surface of the fictional space, and then filmed them frame by frame.

Made by Kiyoshi Nishimoto in March 1974 when he was a student of Musashino Art University.

Animated film by Taku Furukawa.

A documentary directed by Tadayoshi Himeda

A man obsessively pursues the life of a man who committed an unusual suicide, and captures it on film. However, he gradually becomes afraid of the similarity between the dead man and himself.

A Film by Keiji Uematsu.

A short animated film by Tadanaro Okamoto.

Experimental short by Iwata Yūji

Yamazaki's films are strongly related to his photographic work, which is concerned with filmic temporality and the understanding of cinema as a time-based medium. His observational films explore the relationship between the camera and nature, the optical characteristics intrinsic to the tool, and how it facilitates the understanding of the dimensional and transitional elements of recurring natural phenomena. (Cinema Parenthèse)

A puppet animation based on the folk tale Kaguyahime.

Set in Chikuho amid the closing of the region’s coal-mining industry, this film recounts the histories of miners and their families in a narrative that unfolds in a mixture of fact and fiction.

The two are confused about their first relationship with a man and a woman... This is a coming-of-age film that defies the conventional wisdom in that everyone except the director is a first-year junior high school student.

An elaborate screenplay and an orthodox direction that avoids waste. And the right technique and actors to support it. The staff of the Keio 8mm Cine Club put all their energy into this 8mm feature film. The performance of Oyama Saiko, an actress with a strong presence, is rare for an independent film.

Here is one of the most legendary films by Japanese filmmaker Jun'ichi Okuyama. Recently screened at the 2023 Image Forum Festival, it was quite an event, as it hadn't been shown since the 1970s.

The film was shot at the Osanbashi Pier in Yokohama and then re-shot on a matte. The mattes were changed so that parts of the landscape were partially visible and partially hidden, and the projector lens was left open and closed to create a random effect. When the film reached the end, I rewound it, replaced the matte, and shot again. I repeated this process. It was a six-fold exposure with five mattes and a mask. I created this with the image in mind of a clear shape passing through an unclear screen that is sometimes visible and sometimes not, tracing the perspective.

1972 Japanese movie

Micronesia transitioned from Spanish, German, and Japanese colonies to American rule. The film follows survivors of the Pacific War, including conscripts from Korea, and questions the history of the modern era of invasion.

The light from the projector lens was projected through a sheet of ice, and the 8mm film was then immersed in a solution of diluted bleach and stirred to scratch it. After that, the dried film was peeled off. Traces of peeled emulsion were visible in the shape of perforations.

A vivid portrayal of the world of so-called “tekiya” street hawkers who make a living on the fringes of festivals, centering on the big boss of the entire Kyushu region.

A document of the Nihon Gen'yasai Sanrizuka, a two-day experimental festival held in support of the Narita Airport Struggle, in 1971.

Vibrating photo of still life

A medical perspective of Minamata disease in three parts - 1) Progress of Research; 2) Pathology and Symptoms; 3) Clinical Field Trials

In this work, the television monitor is turned into a mirror-like screen which reflects the activities that occur in the actual space in which it is placed. Braun Tube was recorded at a studio and salesroom operated by Toshiba, one of the largest companies that produce electronic consumer goods in Japan. Imai dims down the scale of brightness of one of the television monitors on display to the point that it begins to reflect the viewers standing in front of the TV. Imai, seated on a chair, chats with the Toshiba salesmen in suits and tie, and their reflection on the monitor is superimposed with the moving images broadcast from live television.