JPEX - Contemporary Film, Video, and Animation
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.
Contemporary Film, Video and Animation
In the final program of JPEX, devoted to contemporary film, video, and animation, a complex interaction between the historical trajectory of Japanese avant-garde traditions and the current global economy of multi-media exchange is explored. Ranging from the use of found footage to subversions of narrativity, from the revelation of hybrid sexualities to formal explorations of perception and space, these media-works question the dynamics of our visual-temporal experience. Notions of national identity are expanded to reveal hybrid and shifting national and cultural identities.
WADA Junko Peach Baby Oil, 1995, 16m, color, video (Super-8 original), sound
HIRABAYASHI Isamu Textism, 2003, 11m, video, color, sound
TAKASHI Sawa Mathematica, 2000, 8m, 8mm on video, color, sound
ONITSUKA Kentaro Blooming Ink Tale, 2003, 10m, color, 16mm on video, sound
ITO Ryusuke Plate #23 (songs), 2003, 4m, color, 16mm, sound
NISHIKAWA Tomonari Apollo, 2003, 6m, b&w, 16mm, sound
SUEOKA Ichiro A flick film in which there appear Liz and Franky, is composed under the score of ARNULF RAINER by P. Kubelka on NTSC, 2000, video, 5min, sound, color
AOKI Tatsu Decades Passed, 2003, 26m, color, 16mm, sound
and films and videos by Obitani Yuri, Kai Syng Tan, and others
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.