Film Catalog: Online Search

Jack Wright III

Scramble (1969) 16mm, color, sound, 3 min

Genre: Experimental

Rental: $20.00

Takahiko Iimura

'60's Experiments (2004)

Compilation DVD comprised of Kuzu(Junk), AI(Love), On Eye Rape and A Dance Party in the Kingdom of Lilliput, see titles for descriptions. Sale price: 100.00 individual / 200.00 institutional

Rental: $50.00 Sale price: $100.00 individual / $200.00 institutional

Takahiko Iimura

+ & - (Plus and Minus) (1973)

"Of the new foreign work I saw, (at the Avantgarde Film Festival in London) t hat of Taka Iimura interested me most -- His film + & -, using scratched sign, displayed how perception can be molded by concept. By postulating negative duration -- a length of black, say six seconds, minus a length of white, say three seconds, equals a length of black three seconds -- the gradually emerging experience of 'backward-running' duration, through a long series of these visual sums, was very surprising." Malcolm Le Grice, Studio International, Nov., 1973 "During the past five years the concerns which Iimura explored in Models have reached their most complete refinement in + & -, 1to 60 Seconds, and 24 Frames Per Second. -- For those who do come to Iimura's films feeling oblige d to sit in a theater and concentrate on a screen and assuming that the filmmaker will reward their effort and discipline by providing something to look at, +&- (and in particular, Iimura's presentation of a complete set of additions and a complete set of subtractions) can create considerable frustration. Clearly, however, Iimura's decision to present both halves of what he views as a complete film experience is not made in the interests of pleasing everyone. Like most works of art, + & - is exhibited in the hope that some port ion of those who attend a screening will be flexible enough to develop ways of relating to the film which will enable them to get something out of the experience Iimura has provided." -- Scott MacDonald, Afterimage, April, 1978

Rental: $40.00

Takahiko Iimura

1 To 60 Seconds (1973)

"In 1 to 60 Seconds Iimura does an extraordinary thing: he abstracts time from any concrete associations, seems to put it on the screen and there you sit looking at (or for) it, experiencing it. The film is all black leader except for the numbers 1 to 60 that appear individually in sequence to indicate t he amount of time in seconds that each of them followed one second letter by a number or numbers indicate the total amount of time that has thus far transpired. So at each juncture you know beforehand how much time awaits you be fore the next and how much is behind you, and then it's just you and the black screen. And thereafter many things happen: you attempt to experience, say, twenty one seconds so accurately you will be ready for the 22, or you become impatient and bored, or you just feel time, fell the ongoingness. The film's as varied as time (for you) is and can be." -- Paul Poggiali, The Soho Weekly News, New York, May 9, 1974

Rental: $50.00

Takahiko Iimura

24 Frames Per Second (1975)

"This film and in particular the function of sound within it will vary freely from moment to moment, viewer to viewer. Totally different in its physical surface from most of the sound films of the 1970s, the film's openness of articulation of sound stands as an emblem for the new investigations of sound-image relationship during this period. Allowing the full force of its meaningful symbolic oppositions between black and white, silence and sound, to resonate, the film brings these issues forth within [the] larger context of its (and the viewer's) probing of the nature, the limits and the possibilities of human consciousness." -- Larry Gottheim, 10 Years of Living Cinema "Both in terms of its examination of time and space, of light and darkness, of visuals and sounds; and in terms of its demands and potential rewards for an audience, 24 FRAMES PER SECOND is the quintessential Iimura film." -- Scott MacDonald, Afterimage

Rental: $30.00

Takahiko Iimura

24 Frames Per Second (Revised) (1975)

Restructured version in which the positive and the negative of the frame(s): white frame(s) in black, and black frame(s) in white within one second(24 frames) come out one after the other. In a way, ancient Chinese symbol of Ying and Yang is translated in filmic time where the double structure of the positive and the negative ends up to the opposite: the positive becomes the negative and vice versa.

Rental: $30.00

Takahiko Iimura

A I U E O N N Six Features (1994)

Produced by Takahiko Iimura. Utilizes "System G," Real Time Three-Dimensional Texture Mapping developed by Sony. Combining the comical and the absurd, I created six funny faces to animate the images of Japanese vowels in the difference of "Image," "Letter" and "Voice." "Iimura deconstructs our coherence as he shifts between the English Roman alphabet and Japanese characters, injects spoken Japanese and manipulates the computer images of his features. The images often take on geometrical shapes, others recall the classical images from Japanese woodcuts of a Samurai warrior grimace." -- Robert West, Curator, Mint Museum of Art Awards and Exhibition: One Minute World Festival, São Paulo; many other festivals. Video sale prices: 70.00 individual / 140.00 institutional

Film rental: $20.00 VHS rental: $20.00 DVD rental: $70.00

Takahiko Iimura

A Journey to Ayer Rock (1985)

Consisting of two videos: 1) MOMENTS AT THE ROCK (1984) color, sound, 12 min. Grand Prize, Edison Black Maria International Film/Video Festival, 1986 "Very alluring... The pace of the images and sounds become hypnotic, and creates a sense of "dream time," something basic to the Aboriginal monuments itself." Carl E. Leoffler 2) EXCERPTS FROM (AYERS ROCK) (1985) color, sound, 20 min. video sale price: $70

Rental: $70.00

Takahiko Iimura

Ai (Love) (1962) 16mm, black and white, sound, 10 min

Genre: Experimental

Keywords: Art & Artists

Sound by Yoko Ono "I have seen a number of Japanese avant-garde films at Brussels International Experimental Film Festival, at Cannes and at other places. Of all those films, Iimura's LOVE stands out in its very beauty and originality, a film poem, with no usual pseudo-surrealist imagery. Closest comparison would be Brakhage's LOVING or Jack Smith's FLAMING CREATURES. ... [A] poetic and sensuous exploration of the body ... fluid, direct, beautiful." -- Jonas Mekas, Film Culture

Rental: $40.00

Takahiko Iimura

Air's Rock (1985-2008) DVD NTSC, color, Sound, 29 min

A huge isolated rock in the midst of desert in Australia: Ayers Rock. I produced two films around this rock, however, they are very contrasting in the way the films were made. Originally I produced the second film "Ayers Rock" for a laserdisc by the Pioneer company as part of a series of "Environmental Video," (typically, a lengthy fixed scene of , for example, a water fall with traditional Japanese music, a kind of video wall-painting), which was popular in the middle of the 1980s. As the document of its making, "Moments At The Rock" shot with an amateur video camera, is the first piece presented here. This camera got strange halations from the strong sunshine in the desert of Australia, and I was quite surprised by the result which surpassed the color change caused by nature over the rock. This film was awarded Grand Prize at Edison Int'l Film Festival, and was appreciated in advance of the other film as an experimental film far more than a document of the making of the laserdisc. The "Ayers Rock" released by the Pioneer company sold well with the popularity of Jazz pianist, Richie Byrach. But since I was not satisfied by the so called "Environmental Video," I drastically re-edited as "A Rock In The Light", and requested the music of Haruyuki Suzuki, contemporary composer. Different from the Jazz music, this music is unified with the image, which is far more visually structured, concepturising the passing of time and, I believe, this one went much further than the previous work. (T.I.)