A rare opportunity to see the most comprehensive survey of Japanese experimental cinema exhibited in North America in the last twenty years. JPEX documents the radical medium of postwar Japanese experimental film, video, and animation at its fiftieth anniversary. Five screenings, divided by theme, include the work of Ito Takashi, Tanaami Keiichi, Matsumoto Toshio and many others. To provide a public forum for the discussion of the political, aesthetic, and social interventions made by these visual works, the screenings will be followed by a roundtable discussion on Saturday, November 6th.
Program 2 - Exploded States: War, Politics, and National Identity
In Exploded States: War Politics, and National Identity, the importance of political and social critique for postwar Japanese experimentation is made apparent. Here, Japanese experimental film and video comes to its closest intersection with experimental theater and avant-garde performance. The films draw from and contribute to "happenings" staged by avant-gardists in the Hi Red Center group, an intercontinental Fluxus movement, and Hijikata Tatsumiís butoh dance. Viewed together, works by Hosoe Eiko, Kawanaka Nobuhiro, and Terayama Shuji, among others, exhibit a delightful irony and playful insubordination to state, collective, and perspectival authority.
TAKAMINE Tadasu God Bless America, 2002, 9m, color, video, sound
TANIKAWA Shuntaro & TAKEMITSU Toru X (Batsu), 1960, 15m, b&w, 16mm, silent
HOSOE Eiko Navel and A-Bomb, 1960, 12m, b&w, 16mm, silent
MATSUMOTO Toshio White Hole, 1976, 7m, color, 16mm, sound
HAYASHI Seiichi Shadow, 1969, 3m, color, 16mm on video, sound
AIHARA Nobuhiro Yamakagashi, 1972, 7m, color, 16mm on video, sound
KAWANAKA Nobuhiro Switchback, 1976, 9m, color/b&w, 16mm, sound
AOKI Tatsu 3725, 1981, 11m, color, 16mm, sound
TANAAMI Keiichi Yoshikei, 1979, 12m, color, 16mm, sound
TERAYAMA Shuji Emperor Tomato Ketchup, 1970, 25m, b&w, 16mm, sound
Co-sponsored by the Image Forum Archive Tokyo, the Norman Wait Harris Memorial Fund, The University of Chicago Fine Arts Fund, the Committee on Cinema and Media Studies, the Experimental Film Club, and the University of California Irvine.