#shuji ishikawa

[caranoirs]

[fertileground]

[scarskelly]

[wrestlingmgc]

AJPW World Tag Team Champions Twin Towers

[jasvvy]

[mackdaddyofthecravate]

[thetrashplanet]

Shuji Ishikawa hits a huuuuuuge slam on El Lindaman

[silenthillii]

Special interview with director Shuji Ishikawa, art director Makoto Hanafusa, and producer Yuya Takayama about Rule of Rose, formerly available on the official website.

These are the only screenshots I was able to find from the site itself, but the actual interview I was able to find in the form of a PDF! The full interview will be below the cut.

A disturbing tale of a dark, shadowy society formed by a group of young girls... Who envisioned this psychological adventure and its shocking themes? How did their creative vision take form? We spoke to key members of Punchline, the developers, Shirogumi, the visual effects supervisors, and SCE, the producers, for answers.

The following is an excerpt from an article in the February 2006 issue of Japanese magazine "Hyper Playstation 2" (published by Sony Magazine on December 28th). This article is presented, courtesy of Hyper Playstation 2 Magazine.

--First of all, would you tell us how you came up with the idea of a world of isolated children?

Ishikawa: It began when SCE asked us if we could create a horror game. We discussed this within Punchline and agreed on the type of game we wanted to make. If we were going to work on anything, we wanted to do something that was new and different for us--something that would make an impact on people. So we simply asked, what kind of game would command a presence in the horror genre? What kind of game had not been done before? This led naturally to the theme of darkness in children, from an adult perspective.

Hanafusa: Yeah. We put aside all complicated reasoning and thought very simply. An innocent child doing cruel things—what a scary picture that paints. We also paid attention to the cruelty that exists in fairy tales—"Little Red Riding Hood," for instance. When the Wolf's stomach is cut open, the aunt who was eaten climbs out, and they ultimately put stones in the wolf's stomach and drown it in the river. Fairy tales can be horridly graphic. This, I thought, would fit well with the dark side of innocent children. From there, the planning proceeded to take shape.

--I cannot easily express what this game is like in just a few words. It's more about the sensation you experience while playing it. The creepiness gradually builds and fear heightens. The story as a whole is pretty serious and dark...

Ishikawa: It ended up going in that direction. The results illustrate our attention to how children can sometimes appear scary to an adult. The story was gradually conceived through trial and error, as we investigated ways of generating fear. You see, things we don't understand tend to frighten us, don't they? Not just in children, but also in the opposite sex. We made a conscious effort to create gameplay that takes advantage of our inherent fear of things we don't understand.

--I see. Most of the children in the game are girls. Was this also a design choice related to that theme?

Ishikawa: In childhood, boys see girls as sweet and admirable, but they are in fact mysterious and misunderstood, aren't they? Maybe they are more like adults than boys, mentally. Furthermore, I think the relationships between girls are totally different from those between boys. This is something that men cannot really understand. They're in a world of their own.

Takayama: On the other hand, boys are pretty simple. I think even if they fight, they forget about it quickly and then get along without carrying a grudge. The boys who appear in this game are also simple compared to the girls. You'll see them having sword fights or playing with toys. The boys even willingly run errands for the girls. I hope that the relationships between boys and girls depicted in this game ring true when people think back to their childhoods.

Hanafusa: By producing this game with a focus on the mysterious nature of girls, we thought we could create a world that was baffling and unpredictable for the player. If we stuck to just the themes of fairy tales and children, then we could not have made a game that has this much impact. By adding the unsettling element of the girl's aristocracy, we were able to produce the game we had aimed for—a game with a powerful atmosphere never experienced before. The game, I believe, is a psychological mystery that provides plenty of thrills and chills. All of the characters and visual effects of the game embody doubt and fear.

--Besides children, a few adults appear in the game. What role do they play?

Ishikawa: They also represent something beyond our understanding, as the young girls do. When you were a child, didn't you ever have a strange feeling about an older person in your neighborhood, as if they existed in a different world? To children, these people can be very frightening, even if it's just in their imaginations. They may even start rumors that are untrue. In short, the adults are like the young girls: they exist as objects of fear for both the player and Jennifer.

Takayama: Children, adults, imps, and even the main character, Jennifer, is a bit unsettling. Nearly every character in this game who appears will make you feel uneasy, as if something's not quite right. They awaken hidden fears within us that disturb our sensibilities.

--What about the dog, Brown, Jennifer's only friend?

--Then, does that mean Brown is present simply to serve as her guide?

Ishikawa: Actually, Brown did not exist at the beginning of this project. But as Jennifer's character was solidified, we realized that the game wasn't interesting enough with Jennifer alone. Since she was so helpless and unhappy, we decided to give her a partner.

Ishikawa: Well, of course he serves as a guide, but he also has a role in terrifying the player, like the other characters. He's her only friend among all the characters, and he's sweet and reliable. But, he's not a human being; he's a dog. The Bucket Knight is also friendly towards her, but he's an inanimate object.

--After playing the game, I wondered if some of the mysteries were a little too difficult to solve...

Ishikawa: It is indeed difficult to proceed in this game if you don't carefully connect all of the fragmented hints, but to some degree that is what we intended. Many games these days are designed to be played easily without thinking all the way through. But when I was a kid, there used to be lots of games that you couldn't solve unless you really used your brain. It was fun to solve things after trying really hard to figure them out, and it felt really good afterwards. That's why I wanted to make this game require some thinking. The game itself is simple, but you cannot advance without thinking and making your own interpretations. Only bits and pieces of hints and images are offered, not the answers. My hope is that players pay attention to these hints and use their imaginations.

Takayama: Players may be able to progress relatively easily if they rely on the dog, Brown. But, I want players to think on their own. There is a limit to how far away Brown can smell something, so if Brown isn't able to use his nose, you'll have to think about where to look for an item, and then use the "Find" command. You can also stumble upon hints if you use the "Find" command in different locations. It's even possible to discover other stories which are not related to the game's main plot.

Ishikawa: We believe the game will appeal to a varied audience: from hardcore gamers to those who enjoy French and independent films. We featured many different elements throughout the game, and we're proud of what we've accomplished. We hope you'll have fun with the game and experience fear like you've never felt before, wether you're a fan of horror games or are looking for something new and different.

[the-monkey-ruler]

Naruto (2002) ナルト

Director: Hayato Date Screenwriter: Kishimoto Seiji / Sumizawa Katsuyuki / Takegami Junki Starring: Akira Ishida / Yasuyuki Kase / Romi Park / Shuji Nakata / Soichiro Hoshi / Nobutoshi Kanna / Shinichiro Miki / Hiroki Nakamura / Hiroshi Ienaka / Nobuaki Fukuda / Daisuke Kusunoki / Takako Honda / Hiroaki Hirata / Kenjiro Tsuda / Tomohiro Tsuboi / Tomoyuki Kono / Keiko Nemoto / Takuma Suzuki / Yumiko Kobayashi / Eizo Tsuda / Kazuaki Ito / Kiyomi Asai / Nozomu Sasaki / Hikaru Miyada / Junko Midori / Hideo Ishikawa / Tomoyuki Dan / Takayuki Sugo / Ken'ya Horiuchi / Masahiko Tanaka / Kenta Miyake / Susumu Chiba / Shunsuke Sakino / Akino Watanabe / Tomoyuki Morikawa / Takeshi Aono / Shizuka Ishikawa / Seiji Tsuta / Takeshi Watanabe / Masuo Amada / Mamiko Noto / Keihachi Tsuji / Makoto Tsumura / Hisaya Suganuma / Yasushi Yamamoto Genre: Comedy / Animation / Adventure Official website: www.naruto.com Country/Region of Production: Japan Language: Japanese/English Date: 2002-10-03 (Japan) Number of Seasons: 2 Number of episodes: 722 Single episode length: 24 minutes Number of Movies: 23 Number of Games: 60 Also known as: Fox Ninja / Naruto: Shippuden IMDb: tt0409591 Type: Appropriation

Summary:

Naruto is a Japanese anime television series based on Masashi Kishimoto's manga series of the same name. The story follows Naruto Uzumaki, a young ninja who seeks recognition from his peers and dreams of becoming the Hokage, the leader of his village. Just like the manga, the anime series is divided into two separate parts: the first series retains the original manga's title and is set in Naruto's pre-teen years. The second series, a direct sequel titled Naruto: Shippuden, takes place during his teens. Both anime series were animated by Pierrot, produced by Aniplex and licensed in North America by Viz Media.

Source: https://en.wikipedia.org/wiki/Naruto_(TV_series)

Link: https://www.wcostream.tv/anime/naruto-kai-english-subbed

[faggotmox]

title: deathmatch baby series: briar patches rating: g pairing: Jon Moxley/Bryan Danielson word count: 674 warnings: none author’s notes: first new chapter yeahhhh summary: After a long day Bryan comes back to the hotel to find Mox enjoying a classic with their son.

[link to ao3]

The hotel door swung to the suite that was reserved for Bryan and Mox. The long day started at 4am for Bryan with a crying one year old, and then a morning run. After that rocky start there had been events, interviews, and going to the arena for photos. It was a well over twelve hour day that Bryan would have much preferred spending with his family.

From the living area of the suite Bryan could hear the TV playing, but more importantly he could hear the sweet giggle of his one year old son. Bryan put his bag down by the door and toed off his shoes, absently wondering what Mox was watching with the little guy to make him giggle so much. There were even happy little claps. As he walked towards the sounds Bryan could envision the scene.

Expectation didn’t meet reality when Bryan reached the living room.

“Are you watching BJW with Briar?” Bryan recognized the match instantly. “Is this Kobayashi vs Ishikawa? Jon!” 

“Dada!” Briar clapped and pointed towards the TV.

“What?” Mox looked up, genuinely confused before realization dawned on his face. “Oh, I’m sorry I didn’t wait for you to watch it with us. It just auto-played.”

“What? That’s not--” Bryan paused as he looked at the bloody mess on TV and then their giddy, smiling son clapped his hands happily as a bundle of light tubes was used. “You think I’m mad that you excluded me from showing our son this match?”

“Yeah. I mean, like…” Mox looked between the TV and Bryan. “It’s a classic match, and significant to deathmatch wrestling. I’d be mad if you showed Briar this match without me.”

The little shrug Mox gave at the end, like he realized he did something bad without thinking about it made Bryan’s heart melt. He laughed and shook his head before sitting down next to the pair. Briar gleefully tucked between both parents. Mox kept glancing over at his husband before he spoke up.

“Was that not why you were mad?” Mox asked quietly, glancing down at their son.

“I--” Bryan chuckled, putting his arm over the back of the couch. “No. I was mad because maybe showing our one year old son the world’s bloodiest match isn’t appropriate.”

“What? Nah. He loves this shit. Don’t you, Little Bri?” Mox grinned at the squeal of glee when Briar saw more light tubes be used. 

“Jon, he’s one.” Bryan shook his head, still laughing.

“It’s stimulating!” Mox tried to defend himself. 

“Please, Jon.” Bryan was about to start wheezing. He was laughing so hard. 

“What?” Mox was starting to laugh. 

“I can’t believe you’re showing our one year old baby deathmatches already.” Bryan quickly took out his phone.

“Who’re you texting?” Mox narrowed his eyes but then his own phone dinged so he pulled it out. “Bryan!” 

The text was from Bryan to the Club chat. Mox glared at the letters displayed on his screen as he quickly started typing. 

DRAGON: Yes or No. Is it appropriate to show a one year old baby graphic deathmatches? Yes this is about Jon and Briar.

SWISS: In all other cases I’m inclined to say yes, except when you’re talking about Jon Moxley’s child.

YOOTS: You literally named Briar after barbed wire, dude. I don’t think you get to ask this question.

LORDSHIP: It’s stimulating for Briar specifically.

MOX: Ha! I didn’t even need to defend myself. 

YOOTS: What match? Send the link.

MOX: Abdullah Kobayashi vs Shuji Ishikawa

KING: Classic. For my nephew this is like reading Shakespear.

DRAGON: I’m starting to think I’m the crazy one

YOOTS: Mox you didn’t send the link.

SWISS: He doesn’t know how. Here.

KING: You are crazy.

“Do you really think our group of people are the ones that would side with you on this?” Mox laughed as shift so he could record Briar’s joyous reactions. 

“You’re right. This isn’t the group of men I should be going to for parental advice.” Bryan chuckled. “I thought Regal would be sensible.” 

[kopw]

hi ryan. blade and finish for the wrestling asks ^.^

blade: the bloodiest wrestling match you’ve ever watched?

drew parker vs ryuji ito ikkitousen deathmatch survivor 2021 finals!

the thing is, there are a few matches that involve blading in a more conventional sense that might have had flashier blood spots. kenny during fd2 looked like he got dunked in red goop at one point, but that still felt more... controlled? drew busts his upper back open in this match and starts gushing so bad they have to tape him up multiple times. which does not work because there's so much blood the tape doesn't stick to his skin. it's incredible

though i got recommended an abdullah kobayashi vs shuji ishikawa match recently, so this answer might change when i watch that... expecting lots of blood

finish: top 5 favorite finishing moves?

ushigoroshi (goto). when i learned that it's just part of cole's regular move set i got so unreasonably mad. i don't even dislike cole but... not for you. yoh can keep doing it though

one-winged angel (kenny) / syu-sekai (syuri). NOT the same move but they both involve an electric chair set-up which is one of my favorites

tour of the islands (cobb). SPECIFICALLY when he does a super tour of the islands... there's a mind-blowing one in his match against ospreay at the g1 supercard

rainmaker (okada). no further explanation needed. i do have to say that i don't like when people say jamie's hayterade is just a rainmaker. no it's not... they're both ripcord lariats but there's a difference. and the rainmaker is better. sorry women

stormbreaker (ospreay). funny how people on the indies copy ospreay's entire move set at times but don't even attempt this one. bonkers move

[nzchao]

今週末の土日に開催される「グラウンド・レベル・シネ��」に初参加させていただきます。過去作『東京節2020 - This Is Tokyo - 』がBプログラムにて、27(土)15:50〜、28(日)17:20〜上映予定です。よろしくお願いします。

ーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーーー イメージフォーラム・シネマテーク No.1073

グラウンド・レベル・シネマ Vol.4.5 GROUND LEVEL CINEMA 4.5 日本 ー 台湾

イントロダクション

2020年代に新たなインディペンデ���トシーンを作るべく、日本と台湾のfresh!!!な映像作家たちが国境、世代を超えて、同日、同時刻に作品を上映するリアルイベント＜グラウンド・レベル・シネマ＞

拝啓　 この夏をどう過ごすのか？ 海か？ 山か？ もしくはフェスに行くとか？ だがカネの無い奴、友達がいない奴、居場所の無い奴ら は何処に行けばいいのか？ とりあえず7/27、28 渋谷に集合だ。誰からも頼まれもしないのに勝手に映画を作ってるイカれた連中が待っ ている。きっと探してる何かが見つかるかも知れない（保証はしない）夏休みを涼しい暗闇の中（これだけは保証する）で過ごすのも 悪くないと思う。だってこの場所にはあの「寺山修司」の名前が付いてるんだぜ！熱帯化する渋谷の片隅から世界の皆様へ。　　敬具 (グラウンド・レベル・シネマ運営委員会）

※各上映終了後に日本側作家によるアフタートークを行います。

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■日程 Date 2024年7月27日(土)-7月28日(日) Saturday, 27th, July - Sunday, 28th, July 2024

【open】13:30 【screening】14:00 【close】19:30(予定) 各日３プログラムの入れ替え制

■会場 Venue シアター・イメージフォーラム 3F「寺山修司」 〒150-0002 東京都渋谷区渋谷2-10-2 Image Forum 3F "Terayama Shuji" 2-10-2, Shibuya, Shibuya-ku

■タイムテーブル Timetable 7/27 14:00 A Program 15:50 B Program 17:20 C Program 7/28 14:00 C Program 15:50 A Program 17:20 B Program

■Ticket 当日受付 1プログラム券：一般700円／会員500円 3プログラム券：一般1,500円／会員1,200円 1 program ticket/General 700 yen,　Members 500 yen 3 program ticket/General 1,500 yen,　Members 1,200 yen

ご来場のお客様へ ・満席の際にはご入場をお断りする場合がございます。あらかじめご了承下さい。

主催：グラウンド・レベル・シネマ運営委員会 共催：イメージフォーラム 協力：株式会社ダゲレオ出版 https://www.imageforum.co.jp/cinematheque/1073/index.html

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▶Program A

△ (in progress) / △ Lin Shih-Chieh & Yeh Che / リン・シージエ & イエ・チエ / 7min.

Bi-Kei / 微景 Tatekawa Kiyoshiro / 立川 清志楼 / 7min.

Tata Cuts Down the Timescape / ター爺さん、時間を切る Chen Chun-Tien / チェン・ジュンディエン / 9min.

Tata Picks Up the Landscape / ター爺さん、風景を拾う Chen Chun-Tien / チェン・ジュンディエン / 5min.

My room moon Nozomi Hirai / 平井 望 / 3min.

((( OTO ))) atsuko uchiyama / 内山 涼湖 / 18min.

Deadline / 死線 Daz Yang / ヤン・ヨンシュエン / 2min.

Monochrome Radiance / 単色照明 Hsu Chun-Yi / シュー・ジュンイー 16min.

protein / タンパク質 Naohisa Uchiyama / 内山 尚久 / 5min.

Jouhatsu Letters - Johan⇔Kudo / 蒸発書簡 Masa Kudo & Johan Chang / 工藤 雅 & 張若涵 / 13min.

The Silence of Sirens (in progress) / セイレーンの沈黙 Tzuan Wu / ウー・ズーアン / 5min.

▶Program B

1-2（2-1） An Hsu Hung / ホン・アンシュー / 5min.

Parallax / 視差 Hsin-Yu Chen / チェン・ションイー / 9min.

Koigokoro II / 恋心II Anna Fujii / 藤井アンナ / 5min.

False Expectations / (不)期待傷害 Erica Sheu / エリカ・シュー / 7min.

in the autumn of 2009 / 2009年、秋の会話 Kisawa Koki / 木澤 航樹 / 20min.

ave Walls. Eyes have Doors / 耳ニ壁アリ目ニ障子アリ Ippei Nakao & Karu Miyoshi / 中尾 一平 & 三好 彼流 / 5min.

Flamegazing / 火を観る Yen Wang-Yun / イエン・ワンユン / 8min.

One Two Three / ワン・トゥー・スリー Yukiko Nishino / ニシノ ユキコ / 8min.

Light year return / １億光年キロ Seiichiro Okuma / 大熊誠一郎 / 10min.

This is Tokyo - TOKYO-BUSHI2020 / 東京節2020 MurakamiLoki / ムラカミロキ / 4min.

scenery movie SAYO x Yasuaki Ishikawa / SAYO x 石川���昭 / 6min.

▶Program C

Daytime Cycle Noon Takaki Matsuda / 松田 天樹 / 4min.

Political mysophobia / セイジミゾフォビア Johnny HUNG / 8min.

Lüshun Entry Ceremony（Ryojun Nyujo-shiki） / 旅順入城式 Kenji Kadowaki / 門脇健路 / 8min.

The Night Surge (in progress) / 夜の騷ぎ Hsu Hai-Wen / シュー・ハイウェン / 9min.

Ｍy way of celebrating new year / お正月の過ごし方 Yijean WANG / ワン・イチェン / 15min.

Silent Noise room / 聴視空間 Nishiyama Tomoki / 西山 知希 / 5min.

Presence Undefined / 未定義な。存在 Lichun Tseng & Lam Lai / ゾン・リージュン & リン・リー / 17min.

Reflection / 光が私の目を刺す Irene Lin / リン・ウェンリン / 8min.

nonsense diary / 東京デタラメカメラ日記 MIKIHARUKA / 三木 はるか / 15min.

※タイトル、上映時間等に変更が生じる場合があります。

■作者コメント

▶Program A

△ (in progress) / △ 惑星探査隊が地球に到着し、△計画を実行した。時間波形のスキャン技術を用いて、地球全体のデータを取得するのだ。その中身は地層や、海洋、気候、種、および人類の過去の集団潜在意識、並びに地球文明消失の原因解明にまで及ぶ。この資料映像は、△計画データ投射の圧縮解除のためのものである。

Bi-Kei / 微景 被写体と光と時間の推移、固定カメラで撮影した画像に音響を追加。 微妙に変化する表層と音響を体感する作品。 映像から単一の意味しか受け取れないならば、その映像はまさしく無意味となるだろう。 そこに作家の意図など到底及ばない世界が広がっていなければ作品として成立しない。 映像は決して記号では無い。記号から遥かに、あふれ出てしまう。 あふれ出たものこそ、映像の個性であり本質である。映像は言葉に逆らう。 言葉をはねのけ、映像が自立するときこそ、作品が完成するときだ。

Tata Cuts Down the Timescape / ター爺さん、時間を切る キドラット・タヒミックは台湾北部にある有名なUFOの聖地を訪れる。突然何か不思議な力を受け、彼は50年前の自分との間にある種の共鳴を得る。大航海時代と拭えない植民主義、西方と東方、フィリピンと台湾、今のター爺さんと若いター爺さん、境界はぼやけ、情勢は曖昧になる。

Tata Picks Up the Landscape / ター爺さん、風景を拾う キドラット・タヒミックが空っぽの携帯を手に台湾へやって来た。台湾にいる間、彼は何処でも常に携帯で記録し、去る前夜には、メモリーはもういっぱいになった。彼はこれらの素材を私に託した。私は膨大で雑多な素材との対話を試みる。

My room moon 空を、水中を。私の両の球は泳いだ。闇から光へ。無から有へ。角から球へ。 水を感じる。私の鼓膜を揺らす波動も。 一体私は何処から来たのだろう。この精神を育んだのは何奴か。 これに対する私の思考は空と水中を彷徨い、結果、球を見つけた。 見つけたのではなく現れた。眩く多色の閃光を放つそれは、私の心身を照らし、透過し、暴いた。 私は水の中へと逃げ込んだ。屈折した光は私には届かないだろう。 しかしそれが全ての始まりの一手となった。 これはあの閃光の温もりを知るまでの、私の成長物語第一巻。

((( OTO ))) 友達のオトと言う名の男の子に「オオカミになりに行こー」と誘われ 居合わせたターザンと一緒に、山を登り岩の上で３人で吠えた。 そこから音開きの旅がはじまる。

Deadline / 死線 また来る30日、毎日がデッドライン。

Monochrome Radiance / 単色照明 列車が駅に入り、花火が光る時、人々はシャッターで世界のシワの端を測定する。すべての過ぎ去った時間は、ブラックホールの眠りに合わせて消え、静止した単色の壁画にと変わる。毎回の記憶は何かを思い出すわけでもなく、ただ偶然にその局部を照らすだけだ。暗い部屋における、静電気の火花のように。

protein / タンパク質 それは人類にとって、救世主となるのか、それとも・・・ 映像は、全てスーパーマクロレンズで撮影しました。 使用機材・Canon EOS R6・ZHONG YI OPITCS FREEWALKER 20mm F2 SUPER MACRO 4-4.5:1 BGMは、全てコオロギの鳴き声だけを加工して作ってみました。 使用機材・SOMA LYRA-8 :FILTER PART ・SOMA COSMOS・strymon NIGHTSKY・TASCAM DR-40X・iPod classic

Jouhatsu Letters - Johan⇔Kudo / 蒸発書簡 2021年、コロナ禍で互いに往来が難しい中で、日本と台湾に住む映像作家は、相手から送られてきた映像の音や画を引用して返信するというルールで往復映像書簡を始めた。どこかへ逃避したいという蒸発の願望から日常の旅をしていた二人は、お互いに心象風景を交換しながら新しい実験を試みる。

The Silence of Sirens (in progress) / セイレーンの沈黙 ある種のイメージの発生学を想像してみる：セイレーンが画面の表面の後ろで警報を唱えている。点滅する波の下で都市は徐々に沈没し、次第にぼやけてくる。二枚貝は気泡を吐いて漂い、気泡からは蜃気楼がほとばしる。人魚は泡になり、だんだん暗くなり、世界は球体の中で旋転する。 *本作はセイレーン・プロジェクトの二本目となる短編で、プロジェクトは継続して発展中。

▶Program B

1-2（2-1） フレームの観察を続けながら、運動と制御不能の間で、極端にコントロールしたいという欲望を実行しようと試みる。

Parallax / 視差 外界から自分をアンカリングする過程。

Koigokoro II / 恋心II 「仕草」として感情的に眺めた動作を、純粋な「動作」として再認識するように実験する。

False Expectations / (不)期待傷害 女の子は満月に願いを込める。ドキドキ、キラキラした気持ちをもう少し心に留めておけますようにと。すると、次の日の昼、月の精が彼女のカーテンの隙間から部屋に入ってきて、こっそり人形に替わり、彼女に寄り添うのだった。 本作は本来3チャンネル・16ミリフィルム投影の作品。

in the autumn of 2009 / 2009年、秋の会話 世の中で彼だけができることと、いつだって瀬戸際の社会で交わされてきた会話の記録。

ave Walls. Eyes have Doors / 耳ニ壁アリ目ニ障子アリ 有象無象に紛れて部屋は生き、私たちの体と感情はバラバラになる。母性に媚びるなど迷惑千万。 ある日それは現れ、触れる間も無く消えてゆく。 懐かしい気持ちも置き去りに。 身体表現を用いつつも無機質さを意識して、部屋に閉じ込められた感情の拠り所を模索しながら制作しました。ストップモーションです。 パフォーマンスアーティストの三好彼流との共作です。

Flamegazing / 火を観る 再発見したホームビデオテープ、2つの葬式。

One Two Three / ワン・トゥー・スリー リズムから外れてはいけない。ここに居る人々は現実に存在しているのか、もしくは存在していないのか。

Light year return / １億光年キロ 運命という言葉は嫌いだ。この文が何度も利用されていることは承知の上だが、嫌いなものは嫌いだ。 ただ振り返るとどうしてもロジックで説明できなものも確かにそこにある。そのどうしようもない状況に私は悶々とする。 世界は常にカーブを投げ続けてくる。あたふたせずにただ走りたいものだが。 ��星が地球に落ちる瞬間を目にすることはあるだろうか？生きている間に一度はあってほしいものだ。

This is Tokyo - TOKYO-BUSHI2020 / 東京節2020 都市・東京は江戸時代以降、日本の中心地として繁栄し、現在も首都として多くの重要機関が集められている。大正７年にその情景を歌う形で発表され、その後も多くの人に愛され、リメイクされ続けてきた「東京節」の令和時代における最新版。オリンピックにカッパライ、一体この街、何処へ行く。 イメージフォーラム・フェスティバル2020 ヤング・パースペクティブ 入選作品

scenery movie ”日常のようでいて、誰かの感性を通したようなキラキラした世界。 魅力的な音楽に乗せてその景色が一人の男の心も彩っていく。 ambientとしても楽しめる作品。”

▶Program C

Daytime Cycle Noon コンクリートだらけの都会で生活をしていると、どうしても自然を求めてしまう。かといって旅行に行ってシャッターを切ったりしても写るのはいかにも日本の田舎の風景といった感じでどうも求めているものとは違うのだ。絵画のような自然の風景を自分の映画に取り込みたいと思って作った。

Political mysophobia / セイジミゾフォビア 不満はあるのか？近所に対する不満がある！あそこの定食屋の値上がりに不満がある！台風で大雨なのに会社に行くことも不満！社会に、出来事に対して不満がある！ある！！あるんだよ！！！それ、根本的に解決するなら●●じゃないの？ ●●がダメだからじゃないの？●●と言っちゃいけないのか。 ●●を避けられるもんなのか。

Lüshun Entry Ceremony（Ryojun Nyujo-shiki） / 旅順入城�� 100年くらい経つとさすがにいろんなことが一巡するのだなあと思う今日この頃です。

The Night Surge(in progress) / 夜の騷ぎ 舞踊作品「夜の騷ぎ」と「粼光暗影」の撮影現場での、舞踊のリハーサルと劇場公演の間の曖昧な時間。

Ｍy way of celebrating new year / お正月の過ごし方 カメラを回したら、なくなった人たち、ものやことも忘れられない記憶になる。2023年のお正月を迎えて、８ミリカメラで過ごし方を記録した。

Silent Noise room / 聴視空間 聴覚及び視覚による映像体験を試みる。

Presence Undefined / 未定義な。存在 本作は7本の小さな音声映像の作品集である。いつ上映するにあたっても、順序を問わず上映することができる。この作品はひとつの芸術実験であり、視覚と聴覚のレイヤー、色、協調、調性、触覚、元素と空間の異なる反応を探るものである。その共有する芸術語彙の交差と交錯は、この二つの芸術世界の対話と不確定性の微妙な出会いを刺激する。映像は16ミリ映像の創作と実験で、音声は現場での録音と電子音源を使っている。

Reflection / 光が私の目を刺す 妹の一本のフィルムが、映像と故郷に対する私の想像力を動かした。写真は人の性格を表すとよく言われる。しかし私たちが互いの眼差しに介入しようとするとき、わたしたちが写真を記憶の手段のひとつと捉えないとき、２人の共有する風景を改めて一本の映画にしようとしたら、この繋がりは同じ場所にいる私たちをどこへ連れて行くだろうか。

nonsense diary / 東京デタラメカメラ日記 カメラマンの滝本淳助さんと一緒に映画を撮りました。三木はるかとは親子ほどの年の差があります。ちぐはぐな二人で何をやる？何ができる？滝本さんはフィルムカメラの使い手で、三木はるかはビデオカメラを持ち歩くことが多め。二人で同じ場所に行ったらそれぞれカメラに収めるものはおんなじ？ちがう？愛機を手にお出かけしました。さて、どんなものが撮れているでしょうか。または、撮れていないでしょうか。

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グラウンド・レベル・シネマ https://www.groundlevelcinema.com/ X(Twitter): @groundlevel2020 https://x.com/groundlevel2020 Instagram: @ground_level_cinema https://www.instagram.com/ground_level_cinema/

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