Taking as their starting point the sea (The Pacific Ocean, Heliography, 3···, Walking Works), the investigation of the mechanics of cinema (Xérophtalmie, Xérophilie, Spacy, A Man Playing Movie, Wiper) and an unusual combination of the two (Movie Watching, The Time Slit), the films in this programme construct expanded visions that are only possible with a camera. However, despite the shared tonalities, this session also displays an eclectic variety of these filmmakers’ methods and references.
Takahiko Iimura condenses a Pacific voyage into the illusion of a single horizon. In his physiological challenges, Hiroshi Yamazaki alters the vertical axis of vision or repeats persistent framing using different distances or coordinates. Itaru Kato and Takashi Ito create their trompe l’oeil and divertissements by masking or merging still and moving images to explore the relationship between depth and surface. From Lettrism to Fluxus, in referentiality Akihiko Morishita finds the irony with which he builds his sarcastic collages. And, finally, Jun’ichi Okuyama creates a story within a story with the mechanisms of projection and their possible interferences, thereby composing astonishing lyrical analogies.
The Pacific Ocean, Takahiko Iimura, 1971, no sound, 11 min.; Heliography, Hiroshi Yamazaki, 1979, 6 min.; Movie Watching, Jun’ichi Okuyama, 1982, no sound, 12 min.; 3···, Hiroshi Yamazaki, 1984, 5 min.; The Time Slit, Jun’ichi Okuyama, 1989, 6 min.; Xérophtalmie, Akihiko Morishita, 1984, no sound, 9 min.; Walking Works, Hiroshi Yamazaki, 1983, 5 min.; Xérophilie, Akihiko Morishita, 1984, no sound, 9 min.; Spacy, Takashi Ito, 1981, 9 min.; Wiper, Itaru Kato, 1985, 7 min.; A Man Playing Movie, Jun’ichi Okuyama, 1986-87, 10 min.
16mm screening.
Copies provided by Light Cone (France) and Image Forum (Japan).
Thanks to Kenji Kadowaki.
