Takahiko Iimura Filmes

A boy and a girl in a small room, having a fight, making love and suddenly . . . a black humor on a young couple.—Takahiko Iimura, Paper Film:...

Film installation by Japanese experimental filmmaker Takahiko Iimura.

Iimura creates a short self-portrait as well as brief portraits of five of his peers: Brakhage, Vanderbeek, Smith, Mekas and Warhol. In each...

Cameras once again observing each other.

An attempt at time travel in a very conceptual sense.

Short film for the "A Commercial for Myself" programme.

"The original film was rescued from a Tokyo trash bin. It is an American sexual education film in which plant and animal sex are explained. I,...

A super-real comedy with Sho Kazakura. The film is divided in to a number of very short scenes or chapters, each with a title "A,B,C" at random. we...

In 1973 the Kino Arsenal – then in its Welserstraße location in Berlin-Schöneberg – showed a programme of videos by the...

Consisting of four parts: Between the Frames; Seeing Nothing; The Privilege to See; I Am A Viewer / You Are A Viewer. The film demonstrates and...

"It's a mixture of [dead] animals, pieces of [broken] furniture, industrial waste, kids playing. I didn't have in mind any of the kind of historical...

This film, and in particular the function of sound within it will vary freely from moment to moment, viewer to viewer.

8mm short by Kenji Onishi and Tohru Mabuchi.

Demonstrates the visual logic (and illogic) of sign combining with limited movements of camera for panning and zooming.

White Calligraphy is an abstract short made by scratching characters from 'Kojiki', an early Japanese text, into the frames of 16mm black leader.

One of Takahiko Iimura's (and modern art's) earliest works in conceptual video, A Chair entirely consists of a steady (and usually ghosted) image of...

A kind of first person cinema where the filmmaker is the cameraman as well as the actor. Acting like a total stranger in the city who does not speak...

A precedent to Iimura's video work where he becomes his own subject, I Saw the Shadow sees Iimura follow his own shadow in and out of vision as he...

'What I am concerned with in this film is not only the flicker effect, but also the coming and going of an eye-like shape on screen which was created...

Visually, each section of the film is composed of 10-second spans of clear and dark leader, arranged in a progressive fashion so that at first there...