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Experimental short by Harumi Fujii.

Experimental short by Harumi Fujii.

Experimental short by Harumi Fujii.

Experimental short by Harumi Fujii.

Experimental film by Harumi Fujii.

Erotic drama distributed by Nikkatsu for home video.

A fire safety anime where two boys who work at a barbershop are accused of starting a house fire (when it was the barber's son).

The first film in the Death File series.

experimental film by Nakatsuka Hiroko + Hayashi Go + Mochida Akemi,

Erotic drama distributed by Nikkatsu for home video.

Japanese horror movie from 1989.

1982: 5th Pia Film Festival 1982 / 6 minutes / Color / 8mm Director: Ryoichiro Izubuchi Technical cooperation: Kazuhiko Shibata Sound effects: Kenji Sada Cooperation: Kyushu Institute of Technology, 1st and 3rd year image design department Model: Mitsuyo Masuda

Erotic-drama distributed by Nikkatsu for home video.

Kurokawa Yoshimasa, Daidoji Masashi, Masunaga Toshiaki, and Arai Mariko, all members of the East Asian Anti-Japanese Armed Front " Scorpion, " were incarcerated for instigating the bombing of the Marunouchi offices of Mitsubishi Heavy Industries. This film was conceived of and directed by Kurokawa whilst in prison. During the making of this film, he and his fellow members were under sentences of death or life imprisonment. As testimony to Kurokawa's idea that " the emperor system is not only an incarnation of the patriarchal principle but also the embodiment of the female principle, " the film aims " to critically examine the essence of the Japanese maternal image. "

Three animated chapters by Polygon Pictures are featured in this collection: In Search of New Axis, In Search of Muscular Axis and In Search of Performing Axis.

16mm short by Masaru Noto.

Keroppi, Den Den, and Ruby embark on a mission to locate Pocapon's misplaced belly button, as his ability to play the drums relies on it.

CG animation.

Some people say that "movies are made by connecting still pictures”, but that is not true. A frame of the film is not a photograph, but “something that failed to exercise”.

A collection of excerpts from the “Bloody Films" produced during college (1982-85).

Short animation by Reiko Yokosuka.

This U-matic video incorporates a number of frequent images from Wada's oeuvre: a camera advancing down a colonnaded pedestrian walkway beneath an elevated train line, the figure of a woman with her back to the camera retreating down a street toward a vanishing point by walking or running, and various seascapes. These scenes are spliced together in seemingly random order, sometimes inserted into each other or reshot through close-ups of video monitors. At times the footage is so heavily mediated and re-mediated that images blur into shadow and light, disappear into CRT phosphor dots, or shift hues and patterns from oversaturation and noise. A soundtrack by Hideki Yoshida accompanies the entire sequence, featuring echoing electronic patterns and long tones interspersed with ambient sounds of traffic and beachfront waves. This work was first screened at the Worldwide Video Festival in the Kunstmuseum Den Haag, the Netherlands, in 1986.

Short film by Shin Harada, Single-8, produced in 1985. This work was produced under the condition of a 3-minute frame for the exhibition of the event "First Pictures Show" in the Department of Imaging, Osaka University of Arts.

As the earnest narration at the beginning of the film suggests, this is a film that, in a nutshell, looks back on a page of my youth at university by revisiting the few sculptures I made during my two years there. However, the viewer gradually realises that the narrative and the simplicity of the setting are in fact a cynical gag. This is a unique short film that is at once infinitely endearing and profound.

Suddenly, there is a huge explosion and the world is destroyed. The story unfolds without any context and ends with a bang. 7 minutes of parody, clever use of frame dropping, and pop laughter.

A young girl dressed in white rolls runs and eats watermelons with abandon. The camera follows the girl's gestures incessantly. Occasional inserts such as a red umbrella, a necklace or three men pulling down their trousers, give the film a unique image of a female artist and the heroine's vibrant body. Yuko Ishimaru, who plays the leading role, is an indispensable figure in Hokkaido's independent film scene.

When a boy wakes up, his memory is lost and the town is empty. Suddenly, a girl appears selling manjushage flowers, saying "Don't you want flowers? The girl, who walks with a basket of red flowers on her head, is actually not from this world. The film is a very honest look at the question of what true beauty is. The girl's voice repeating, "If it's a red flower, it's manjushage" is impressive.

On a country road, a car catches sight of a man standing on the side of the road. The man gives a signal to the car. But the car passes by. Using a large number of still photographs, this experimental animation shows the hitchhiker's inability to wait for a car. A dizzying amount of work has gone into this 9-minute film.

Mt. Buko documentary directed by Minoru Shinojima 1986, 16mm. A journey through the beautiful nature and cultural importance of Mt. Buko and its local area.

Two faces, in fact two silhouettes, are outlined against a monochromic background. They nod, interchange, underline their soundless talk with gestures of the hand. The gesticulating hands contribute to the communicative role ‘breath’ plays

Two girls walk down a snowy street on their way home from school. They are residents of "Mahoroba," a place hugged by mountains and sheltered by snow. Winter, the girl in the grey coat, freezes her fingers in the falling snow to make a cold white tower. The girl in the yellow coat, Spring, is staring at her from a little distance. The winter girl in love with the snow is forever innocent. She will remain closed and eventually die. The girl in spring is saddened by this and destroys the winter girl's "mahoroba". The winter girl learns that she cannot resist the changing seasons. The day of adulthood is coming, but the innocence of Winter's youth prevents her from degrading herself, even to the point of death. The spring girl hugs the winter girl's shoulder. The colour of red blood can be seen through the cheeks of the girls. This is the beautiful myth of the girl's misery. Mahoroba, caged in the snow, will eventually be forgotten one day. Somewhere, the birds of spring are singing.

From the introductory narration to the title backdrop where Sayuri Yoshinaga sings, "A cute bud becomes a flower, and even after the flower falls, the truth remains. This is the intro to the song where the three completely different moods are perfectly connected. The girl buries a sunflower seed and a doll called "my baby" together in the ground and takes revenge on the other young man. In spite of this, the screenplay is not at all realistic or tragic, which amplifies the cruelty of the fairy tale. The cruelty of the story is amplified.

One day at a high school, the headteacher suddenly announces that a draft is to be imposed at the morning assembly. The headteacher suddenly announces that there will be a draft. The idea that a school is like a nation and that one must have the military power to protect one's own school could be a satire for the sake of satire, but as in the episode where the principal is a Chiba native, the term Chiba native is used as if it were a racial term. The film maintains the quality of the gags that generate laughter, as in the episode where the school principal uses the word "Chiba-kenjin" as if it were a racial slur, making it an excellent comedy.

In this work performed in 1976 (edited to a video work in 1981), Imai flashes a strobe light directly at the audience seated inside the auditorium in the KBS Laseirum Center in Kyoto and photographs their reaction with his camera. The audience who had expected to see a moving image projected on the surface of a dome-shaped screen on the ceiling is submerged in the dark for the first few minutes. They are left to listen to the recorded sound of a heartbeat and the metronome set to the rhythm of 6/8 time. The sudden eruption of the strobe light as Imai presses the shutter of his camera synchronized to the ringing sound of the metronome brings out diverse reaction from the audience: some cover their eyes with their hands or the pamphlet, while others directly look at the camera and strike some funny poses.

Children's program from the 80s. Kento Girubāto & Jun Marī's song "After the Fight"

In 1988, the poet Ikuo Yamamoto's poetry collection "New Man". There was a plan to make it with the participation of artists of various genres. I participated in the project with an 8mm independent film.

16mm to digital, 6'00.

Over the Threshold is about intermarriage between Japanese and Westerners. The filmmakers are a husband and wife team who met during their studies at Britain's National Film & TV School in London. The film documents their first visit to Japan together, during which husband Tezuka introduces his non-Japanese wife to his family (his father coincidentally was the creator of the cartoon series Astro Boy). The point-of-view is largely that of the 'outsider', and much of the film is devoted to her attempts to find out what it means to 'fit in' in Japan. At a deeper level, the film amounts to a socio-cultural study of a Japanese family, who seem to adapt surprisingly well to having a 'geijan' or foreigner in their midst. This aspect is strengthened by the incorporation of interviews with other Western women who have married Japanese husbands.

short film by Harada Ippei

A masterpiece of the creator who has continually been expressing the minimal world overflowing with solitude by fixing the gaze on a subject. The camera does not take its focus off the underpass ground. In the beginning of the piece, Ohtani films the floor as he walks, and the paving looks like any ordinary paving. When he stops and repeatedly zooms focus on the floor, the pale floor reflected by fluorescent light starts to transfigure into some cosmic form; a field of clouds or an ocean surface. Eventually, when the humming of the film particles vibrate the light on the floor like a mysterious organism, we encounter the power of minimal gaze that can only be expressed with 8mm film.

Roofs of tin and tile, passing by trains and cars, walls of modern buildings – surfaces of solid objects and those of soft, such as water – sunlight evenly shines on both those surfaces. These lights change into various expressions with the characteristics of the objects they reflect on. By controlling light, Hirata exaggerates the reflecting rays. This act purifies the light itself and is solely an attempt to abstract the world of vision that is formed by the reflecting of radiant energy. The power of the beam is relative to that of the filmmaker's gaze. The rays eventually gather, become a mass, and repeat intense expansion and contraction. At this moment, Hirata, using light as the medium, is facing this world with complete precision.

Light reflecting on a dark water surface, a drop of light with blurred outline, the sea at night, illumination in the distance, a close-up of a lying female – these are basically all the objects that appear in this piece. Nevertheless, the scale of the story this simple composition weaves out is awesome. The first piece made after moving into Tokyo, this work sieves out Nishimura's negative feelings such as anxiety and solitude and the scent of death from the dark water face. So who is this lying woman, her blank gaze that at some moments gleam with light? The mystery deepens and interpretations expand. Nishimura's true masterpiece, aiming to make "film that the audience can conceive without strain".

When we try to change the miscellaneous world that surrounds us into a truly simple form, what will we find? Working in mass media, Mukahira constantly sets various experimental challenges towards the film medium. This super 8 piece is one of his earlier works. Wrapping the living consciousness with gloves and tracing the things around us as triangular, lozenge, circular figures, the world turns out to be a very unexpected collection of inorganic symbols. If such is the case, would the person who is the so-called "symbol" of this country be coded indifferently as well?