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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.

A documentary about the atomic bombing of Hiroshima in 1945.

In his early experimental short Karma (カルマ, 1977), Aihara uses water as his central motif. The film is hand drawn and appears to be shot on 16mm using a blue filter. At first we can only see tiny specks on the screen, coming and going like snow flurries. The specks gradually grow larger and take the shape of bubbles, then even larger into rivulets of water on a transparent surface.

The documentary is a record of a marriage ceremony that took place in April 1971 and was performed in accordance with Ainu traditions at the request of the young bride. There were two hurdles to overcome in the realization of the ceremony: first, a group of Ainu had to be convinced, who were against a revival of the tradition. Secondly, there were only a few members of the community who knew the details of the ceremony at all, since most of them had already been celebrating a wedding in their own style for over 80 years.

Nikkatsu Roman Porno. (short movie)

Kunitoshi Manda's first film. A monologue and dialogue about love.

Pink film 1976.

This work depicts the sculptor Kiuchi Masaru's creative studio and the work without any verbal explanation.

The image captured by moving the camera left and right moves left and right on the screen. The screen was then re-shot by moving the camera left and right. When the image movement and the camera movement are in the same direction, there is no movement, and when they are in the opposite directions, the movement accelerates.

In February 1969 activists and students gather on the Underground Square between East and West exit of Shinjuku Station. They declare the place a greek 'agora', a place where people connect and debate about politics. When they collide with anti-protesters the police closes the gathering place down.

Experimental short by Yoichi Nagata.

After the Expo ’70 Destruction Joint-Struggle Group disbanded, Katō released Brahmin (Burāmin, 1971-76).

A man returns to his hometown and waits for a woman at the train station, and the dialogue between the man and the woman is interwoven. The film stars Yamakawa regulars Muroi Shigeru and Sato Akihiro in the lead roles.

『奇病Ⅱ』Bizarre disease Ⅱ：1977/5min

An upbeat comical animated collage telling the story of a man attempting to fly with artificial wings.

Han Ok-hee's Three Mirrors fantastically expresses the world of a woman's desires, and the surrealist screen composition, the image of a symbolized candle, the nude female body, and the everyday will to break the suffocating wall of reality are poignantly reflected in the flow of the image.

Experimental short by Takashi Nakajima.

This film documents the activities of the Stars Group, an underground collective of artists who pursued freedom of expression in China in the late 1970s and early 1980s. Huang Rui, Ma Desheng, and Wang Keping were key figures in the collective. The film begins with the group’s 1979 exhibition outside the National Art Museum of China in Beijing and records its closure by the authorities, the street demonstrations to protest the closure, negotiations with the authorities, and the subsequent exhibition at Beihai Park. The work is the only known video that records these significant moments, and it also offers insight into life in Beijing after the end of the Cultural Revolution (1966–1976). Held at M+ Museum in Hong Kong.

Short pinku

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 Iwata Yūji

A puppet animation based on the folk tale Kaguyahime.

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).

Experimental short by Takashi Nakajima.

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.

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)

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.

A documentary chronicle of the excavation of a Western Han dynasty tomb in Hunan province and the camera-observed autopsy of a remarkably preserved female corpse — a 2,100-year-old noblewoman whose burial goods and condition revealed details of elite life in the Han era.

HUNDRED HEROES CANNOT MATCH… THE LION COMMANDS THE JUNGLE Sing, a skilled young man, returns to his hometown only to discover that his parents have perished in a mysterious fire, leaving nothing but the ruins of his childhood home. Determined to avenge their deaths, he sets out to track down the mastermind behind the tragedy. Along the way, he is joined by Chan Mee-Choeng, a talented fighter who happens to cross his path, and together they confront the ruthless villains of Ban Thung Khla.

Adapted from Ishinomori Shotaro’s manga, a young cartoonist encounters a lonely girl on a spaceship as they traverse between two worlds.

This is a documentary in which the camera's gaze is surrounded by a consciousness of staring, and this consciousness brings about a clear stance in approaching the subject. The distance between the able-bodied and the disabled is made clearer here by depicting it from the side of the disabled, and the film's title, "Why are schools for the disabled wrong? The title of the film, "Why are schools for the disabled wrong? This straightforward attempt at the most basic of documentary filmmaking, how to bring the subject to oneself, succeeds in capturing the full power of film itself, not just within the genre of documentary. The film is a success.

16mm, b&w, silent, 5'00

The viewer spends a pleasant 30 minutes enfolded in the agreeably lazy atmosphere generated by repeating images and minimalist music that characterize Nakamura’s films. The rhythm of repetitions, subtle deviations, and memories evoked by momentary images transform the scenery of an actual street into a world of daydreams. Nakamura’s distinctive trance film has earned high international acclaim.

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

Two high school students facing difficulties at both school and home decide to break up and meet again in the future once they have overcome their hardships

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.

This is an unfinished [Shaw Brothers] production entitled THE NOCTURNAL KILLER. It's possibly an aka for the above mentioned THE LITTLE POISONOUS DRAGON. It's just one of many unfinished films that were started at Shaw's and abandoned for whatever reason. With between 40 and 50 movies being scheduled throughout 1971 and 1972, some productions were scrapped, or morphed into an entirely different picture. Curiously, the plot and Shi Szu's attire appears similar to HEROES OF SUNG (1973; it was filmed under different titles as well), a film that did starred the actress and Lo Lieh, but not the Taiwanese actor, An Ping. - coolasscinema.com, Dec 2010

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).

The 1976 version is the final version, but it is a reworking, with more nesting, of the version made and screened in 1974. It is the final version that I would like you to see, but I have also kept this version with less nesting, because having both seemed to assert the nature of the nesting structure.

I wondered what it would feel like to see another image at the moment the bubble bursts. I wondered if there was a crucial difference between splicing another image onto a frame just before the bubble bursts, and splicing another image onto a frame just after the bubble bursts, so I created this work to watch that moment over and over again.

Pink film by Yoshiaki Horikoshi.

"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.

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.

I took this photo in Uraga. I was carrying a tripod with an 8mm camera on it, so it was a selfie from behind. The tripod is always in the frame, so it has a strong presence. The film was then projected and each frame was re-shot at different zoom ratios, allowing viewers to alternate between looking at the entire screen and the center, frame by frame. In the second half, I re-photographed the screen so that the tilted landscape on the screen was returned to a horizontal position, expressing the idea that the landscape is stationary and it is the viewfinder that moves.

We filmed a cheetah roaming around at Tama Zoo. We projected that footage and followed the cheetah's movements on the screen with a camera. The cheetah was in a cage called a screen, so when we followed it, the darkness outside the screen came into the frame.