#shuji ishikawa
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fertileground · 1 year ago
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caranoirs · 3 months ago
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scarskelly · 1 month ago
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wrestlingmgc · 8 months ago
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AJPW World Tag Team Champions Twin Towers
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jasvvy · 1 year ago
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shiranuikaii · 2 years ago
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thetrashplanet · 10 months ago
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Shuji Ishikawa hits a huuuuuuge slam on El Lindaman
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silenthillii · 29 days ago
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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.
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the-monkey-ruler · 20 days ago
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Naruto (2002) ナルト
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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
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faggotmox · 5 months ago
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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.” 
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kopw · 1 year ago
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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
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nzchao · 4 months ago
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今週末の土日に開催される「グラりンド・レベル・シネマ」に初参加させおいただきたす。過去䜜『東京節2020 - This Is Tokyo - 』がBプログラムにお、27(土)15:50〜、28(日)17:20〜䞊映予定です。よろしくお願いしたす。
ヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌ むメヌゞフォヌラム・シネマテヌク No.1073
グラりンド・レベル・シネマ Vol.4.5 GROUND LEVEL CINEMA 4.5 日本 ヌ 台湟
むントロダクション
2020幎代に新たなむンディペンデントシヌンを䜜るべく、日本ず台湟のfresh!!!な映像䜜家たちが囜境、䞖代を超えお、同日、同時刻に䜜品を䞊映するリアルむベントグラりンド・レベル・シネマ
拝啓  この倏をどう過ごすのか 海か 山か もしくはフェスに行くずか だがカネの無い奎、友達がいない奎、居堎所の無い奎ら は䜕凊に行けばいいのか ずりあえず7/27、28 枋谷に集合だ。誰からも頌たれもしないのに勝手に映画を䜜っおるむカれた連䞭が埅っ おいる。きっず探しおる䜕かが芋぀かるかも知れない保蚌はしない倏䌑みを涌しい暗闇の䞭これだけは保蚌するで過ごすのも 悪くないず思う。だっおこのᅵᅵᅵ所にはあの「寺山修叞」の名前が付いおるんだぜ熱垯化する枋谷の片隅から䞖界の皆様ぞ。  敬具 (グラりンド・レベル・シネマ運営委員䌚
※各䞊映終了埌に日本偎䜜家によるアフタヌトヌクを行いたす。
ヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌ
■日皋 Date 2024幎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プログラムの入れ替え制
■䌚堎 Venue シアタヌ・むメヌゞフォヌラム 3F「寺山修叞」 〒150-0002 東京郜枋谷区枋谷2-10-2 Image Forum 3F "Terayama Shuji" 2-10-2, Shibuya, Shibuya-ku
■タむムテヌブル 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 圓日受付 1プログラム刞䞀般700円䌚員500円 3プログラム刞䞀般1,500円䌚員1,200円 1 program ticket/General 700 yen, Members 500 yen 3 program ticket/General 1,500 yen, Members 1,200 yen
ご来堎のお客様ぞ ・満垭の際にはご入堎をお断りする堎合がございたす。あらかじめご了承䞋さい。
䞻催グラりンド・レベル・シネマ運営委員䌚 共催むメヌゞフォヌラム 協力株匏䌚瀟ダゲレオ出版 https://www.imageforum.co.jp/cinematheque/1073/index.html
ヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌ
▶Program A
△ (in progress) / △ Lin Shih-Chieh & Yeh Che / リン・シヌゞ゚ & む゚・チ゚ / 7min.
Bi-Kei / 埮景 Tatekawa Kiyoshiro / 立川 枅志楌 / 7min.
Tata Cuts Down the Timescape / タヌ爺さん、時間を切る Chen Chun-Tien / チェン・ゞュンディ゚ン / 9min.
Tata Picks Up the Landscape / タヌ爺さん、颚景を拟う Chen Chun-Tien / チェン・ゞュンディ゚ン / 5min.
My room moon Nozomi Hirai / 平井 望 / 3min.
((( OTO ))) atsuko uchiyama / 内山 涌湖 / 18min.
Deadline / 死線 Daz Yang / ダン・ペンシュ゚ン / 2min.
Monochrome Radiance / 単色照明 Hsu Chun-Yi / シュヌ・ゞュンむヌ 16min.
protein / タンパク質 Naohisa Uchiyama / 内山 尚久 / 5min.
Jouhatsu Letters - Johan⇔Kudo / 蒞発曞簡 Masa Kudo & Johan Chang / 工藀 雅 & 匵若涵 / 13min.
The Silence of Sirens (in progress) / セむレヌンのᅵᅵᅵ黙 Tzuan Wu / りヌ・ズヌアン / 5min.
▶Program B
1-22-1 An Hsu Hung / ホン・アンシュヌ / 5min.
Parallax / 芖差 Hsin-Yu Chen / チェン・ションむヌ / 9min.
Koigokoro II / 恋心II Anna Fujii / 藀井アンナ / 5min.
False Expectations / (䞍)期埅傷害 Erica Sheu / ゚リカ・シュヌ / 7min.
in the autumn of 2009 / 2009幎、秋の䌚話 Kisawa Koki / 朚柀 航暹 / 20min.
ave Walls. Eyes have Doors / 耳ニ壁アリ目ニ障子アリ Ippei Nakao & Karu Miyoshi / äž­å°Ÿ 䞀平 & 䞉奜 圌流 / 5min.
Flamegazing / 火を芳る Yen Wang-Yun / む゚ン・ワンナン / 8min.
One Two Three / ワン・トゥヌ・スリヌ Yukiko Nishino / ニシノ ナキコ / 8min.
Light year return / 億光幎キロ Seiichiro Okuma / 倧熊誠䞀郎 / 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 石川泰昭 / 6min.
▶Program C
Daytime Cycle Noon Takaki Matsuda / 束田 倩暹 / 4min.
Political mysophobia / セむゞミゟフォビア Johnny HUNG / 8min.
LÃŒshun Entry CeremonyRyojun Nyujo-shiki / 旅順入城匏 Kenji Kadowaki / 門脇健路 / 8min.
The Night Surge (in progress) / 倜の隷ぎ Hsu Hai-Wen / シュヌ・ハむりェン / 9min.
y way of celebrating new year / お正月の過ごし方 Yijean WANG / ワン・むチェン / 15min.
Silent Noise room / 聎芖空間 Nishiyama Tomoki / 西山 知垌 / 5min.
Presence Undefined / 未定矩な。存圚 Lichun Tseng & Lam Lai / ゟン・リヌゞュン & リン・リヌ / 17min.
Reflection / 光が私の目を刺す Irene Lin / リン・りェンリン / 8min.
nonsense diary / 東京デタラメカメラ日蚘 MIKIHARUKA / 䞉朚 はるか / 15min.
※タむトル、䞊映時間等に倉曎が生じる堎合がありたす。
■䜜者コメント
▶Program A
△ (in progress) / △ 惑星探査隊が地球に到着し、△蚈画を実行した。時間波圢のスキャン技術を甚いお、地球党䜓のデヌタを取埗するのだ。その䞭身は地局や、海掋、気候、皮、および人類の過去の集団朜圚意ᅵᅵᅵ、䞊びに地球文明消倱の原因解明にたで及ᅵᅵ。この資料映像は、△蚈画デヌタ投射の圧瞮解陀のためのものである。
Bi-Kei / 埮景 被写䜓ず光ず時間の掚移、固定カメラで撮圱した画像に音響を远加。 埮劙に倉化する衚局ず音響を䜓感する䜜品。 映像から単䞀の意味しか受け取れないならば、その映像はたさしく無意味ずなるだろう。 そこに䜜家の意図など到底及ばない䞖界が広がっおいなければ䜜品ずしお成立しない。 映像は決しお蚘号では無い。蚘号から遥かに、あふれ出おしたう。 あふれ出たものこそ、映像の個性であり本質である。映像は蚀葉に逆らう。 蚀葉をはねのけ、映像が自立するずきこそ、䜜品が完成するずきだ。
Tata Cuts Down the Timescape / タヌ爺さん、時間を切る キドラット・タヒミックは台湟北郚にある有名なUFOの聖地を蚪れる。突然䜕か䞍思議な力を受け、圌は50幎前の自分ずの間にある皮の共鳎を埗る。倧航海時代ず拭えない怍民䞻矩、西方ず東方、フィリピンず台湟、今のタヌ爺さんず若いタヌ爺さん、境界はがやけ、情勢は曖昧になる。
Tata Picks Up the Landscape / タヌ爺さん、颚景を拟う キドラット・タヒミックが空っぜの携垯を手に台湟ぞやっお来た。台湟にいる間、圌は䜕凊でも垞に携垯で蚘録し、去る前倜には、メモリヌはもういっぱいになった。圌はこれらの玠材を私に蚗した。私は膚倧で雑倚な玠材ずの察話を詊みる。
My room moon 空を、氎䞭を。私の䞡の球は泳いだ。闇から光ぞ。無から有ぞ。角から球ぞ。 氎を感じる。私の錓膜を揺らす波動も。 䞀䜓私は䜕凊から来たのだろう。この粟神を育んだのは䜕奎か。 これに察する私の思考は空ず氎䞭を圷埚い、結果、球を芋぀けた。 芋぀けたのではなく珟れた。眩く倚色の閃光を攟぀それは、私の心身を照らし、透過し、暎いた。 私は氎の䞭ぞず逃げ蟌んだ。屈折した光は私には届かないだろう。 しかしそれが党おの始たりの䞀手ずなった。 これはあの閃光の枩もりを知るたでの、私の成長物語第䞀巻。
((( OTO ))) 友達のオトず蚀う名の男の子に「オオカミになりに行こヌ」ず誘われ 居合わせたタヌザンず䞀緒に、山を登り岩の䞊で人で吠えた。 そこから音開きの旅がはじたる。
Deadline / 死線 たた来る30日、毎日がデッドラむン。
Monochrome Radiance / 単色照明 列車が駅に入り、花火が光る時、人々はシャッタヌで䞖界のシワの端をᅵᅵᅵ定する。すべおの過ぎ去った時間は、ブラックホヌルの眠りに合わせお消え、静止した単色の壁画にず倉わる。毎回の蚘憶は䜕かを思い出すわけでもなく、ただ偶然にその局郚を照らすだけだ。暗い郚屋における、静電気の火花のように。
protein / タンパク質 それは人類にずっお、救䞖䞻ずなるのか、それずも・・・ 映像は、党おスヌパヌマクロレンズで撮圱したした。 䜿甚機材・Canon EOS R6・ZHONG YI OPITCS FREEWALKER 20mm F2 SUPER MACRO 4-4.5:1 BGMは、党おコオロギの鳎き声だけを加工しお䜜っおみたした。 䜿甚機材・SOMA LYRA-8 :FILTER PART ・SOMA COSMOS・strymon NIGHTSKY・TASCAM DR-40X・iPod classic
Jouhatsu Letters - Johan⇔Kudo / 蒞発曞簡 2021幎、コロナ犍で互いに埀来が難しい䞭で、日本ず台湟に䜏む映像䜜家は、盞手から送られおきた映像の音や画を匕甚しお返信するずいうルヌルで埀埩映像曞簡を始めた。どこかぞ逃避したいずいう蒞発の願望から日垞の旅をしおいた二人は、お互いに心象颚景を亀換しながら新しい実隓を詊みる。
The Silence of Sirens (in progress) / セむレヌンの沈黙 ある皮のむメヌゞの発生孊を想像しおみるセむレヌンが画面の衚面の埌ろで譊報を唱えおいる。点滅する波の䞋で郜垂は埐々に沈没し、次第にがやけおくる。二枚貝は気泡を吐いお挂い、気泡からは蜃気楌がほずばしる。人魚は泡になり、だんだん暗くなり、䞖界は球䜓の䞭で旋転する。 *本䜜はセむレヌン・プロゞェクトの二本目ずなる短線で、プロゞェクトは継続しお発展䞭。
▶Program B
1-22-1 フレヌムの芳察を続けながら、運動ず制埡䞍胜の間で、極端にコントロヌルしたいずいう欲望を実行しようず詊みる。
Parallax / 芖差 倖界から自分をアンカリングする過皋。
Koigokoro II / 恋心II 「仕草」ずしお感情的に眺めた動䜜を、玔粋な「動䜜」ずしお再認識するように実隓する。
False Expectations / (䞍)期埅傷害 女の子は満月に願いを蟌める。ドキドキ、キラキラした気持ちをもう少し心に留めおおけたすようにず。するず、次の日の昌、月の粟が圌女のカヌテンの隙間から郚屋に入っおきお、こっそり人圢に替わり、圌女に寄り添うのだった。 本䜜は本来3チャンネル・16ミリフィルム投圱の䜜品。
in the autumn of 2009 / 2009幎、秋の䌚話 䞖の䞭で圌だけができるこずず、い぀だっお瀬戞際の瀟䌚で亀わされおきた䌚話の蚘録。
ave Walls. Eyes have Doors / 耳ニ壁アリ目ニ障子アリ 有象無象に玛れお郚屋は生き、私たちの䜓ず感情はバラバラになる。母性に媚びるなど迷惑千䞇。 ある日それは珟れ、觊れる間も無く消えおゆく。 懐かしい気持ちも眮き去りに。 身䜓衚珟を甚い぀぀も無機質さを意識しお、郚屋に閉じ蟌められた感情の拠り所を暡玢しながら制䜜したした。ストップモヌションです。 パフォヌマンスアヌティストの䞉奜圌流ずの共䜜です。
Flamegazing / 火を芳る 再発芋したホヌムビデオテヌプ、2぀の葬匏。
One Two Three / ワン・トゥヌ・スリヌ リズムから倖れおはいけない。ここに居る人々は珟実に存圚しおいるのか、もしくは存圚しおいないのか。
Light year return / 億光幎キロ 運呜ずいう蚀葉は嫌いだ。この文が䜕床も利甚されおいるこずは承知の䞊だが、嫌いなものは嫌いだ。 ただ振り返るずどうしおもロゞ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ずする。 䞖界は垞にカヌブを投げ続けおくる。あたふたせずにただ走りたいものだが。 流星が地球に萜ちる瞬間を目にするこずはあるだろうか生きおいる間に䞀床はあっおほしいものだ。
This is Tokyo - TOKYO-BUSHI2020 / 東京節2020 郜垂・東京は江戞時代以降、日本の䞭心地ずしお繁栄し、珟圚も銖郜ずしお倚くの重芁機関が集められおいる。倧正幎にその情景を歌う圢で発衚され、その埌も倚くの人に愛され、リメむクされ続けおきた「東京節」の什和時代における最新版。オリンピックにカッパラむ、䞀䜓この街、䜕凊ぞ行く。 むメヌゞフォヌラム・フェスティバル2020 ダング・パヌスペクティブ 入遞䜜品
scenery movie ”日垞のようでいお、誰かの感性を通したようなキラキラした䞖界。 魅力的な音楜に乗せおその景色が䞀人の男の心も圩っおいく。 ambientずしおも楜しめる䜜品。”
▶Program C
Daytime Cycle Noon コンクリヌトだらけの郜䌚で生掻をしおいるず、どうしおも自然を求めおしたう。かずいっお旅行に行っおシャッタヌを切ったりしおも写るのはいかにも日本の田舎の颚景ずいった感じでどうも求めおいるものずは違うのだ。絵画のような自然の颚景を自分の映画に取り蟌みたいず思っお䜜った。
Political mysophobia / セむゞミゟフォビア 䞍満はあるのか近所に察する䞍満があるあそこの定食屋の倀䞊がりに䞍満がある台颚で倧雚なのに䌚瀟に行くこずも䞍満瀟䌚に、出来事に察しお䞍満がある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●●ず蚀っちゃいけないのか。 ●●を避けられるもんなのか。
LÃŒshun Entry CeremonyRyojun Nyujo-shiki / 旅順入城匏 100幎くらい経぀ずさすがにいろんなこずが䞀巡するのだなあず思う今日この頃です。
The Night Surge(in progress) / 倜の隷ぎ 舞螊䜜品「倜の隷ぎ」ず「粌光暗圱」の撮圱珟堎での、舞螊のリハヌサルず劇堎公挔の間の曖昧な時間。
y 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、ものやこずも忘れられない蚘憶になる。2023幎のお正月を迎えお、ミリカメラで過ごし方を蚘録した。
Silent Noise room / 聎芖空間 聎芚及び芖芚による映像䜓隓を詊みる。
Presence Undefined / 未定矩な。存圚 本䜜は7本の小さな音声映像の䜜品集である。い぀䞊映するにあたっおも、順序を問わず䞊映するこずができる。この䜜品はひず぀の芞術実隓であり、芖芚ず聎芚のレむダヌ、色、協調、調性、觊芚、元玠ず空間の異なる反応を探るものである。その共有する芞術語圙の亀差ず亀錯は、この二぀の芞術䞖界の察話ず䞍確定性の埮劙な出䌚いを刺激する。映像は16ミリ映像の創䜜ず実隓で、音声は珟堎での録音ず電子音源を䜿っおいる。
Reflection / 光が私の目を刺す 効の䞀本のフィルムが、映像ず故郷に察する私の想像力を動かした。写真は人の性栌を衚すずよく蚀われる。しかし私たちが互いの県差しに介入しようずするずき、わたしたちが写真を蚘憶の手段のひず぀ず捉えないずき、人の共有する颚景を改めお䞀本の映画にしようずしたら、この繋がりは同じ堎所にいる私たちをどこぞ連れお行くだろうか。
nonsense diary / 東京デタラメカメラ日蚘 カメラマンの滝本淳助さんず䞀緒に映画を撮りたした。䞉朚はるかずは芪子ほどの幎の差がありたす。ちぐはぐな二人で䜕をやる䜕ができる滝本さんはフィルムカメラの䜿い手で、䞉朚はるかはビデオカメラを持ち歩くこずが倚め。二人で同じ堎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たした。さお、どんなものが撮れおいるでしょうか。たたは、撮れおいないでしょうか。
ヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌヌ
グラりンド・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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scarskelly · 6 months ago
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papanitosfamilycircus · 9 months ago
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real bjwheads know aoki should beat nomura then wrestle shuji ishikawa on thr 5/4 show
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jasvvy · 1 year ago
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matsudaryota-works · 11 months ago
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MV chilldspot Digital Single「キラヌワヌド」
映画『隣人×-疑惑の圌女-』䞻題歌
恋人圹で出挔しおいたす
youtube
Staring : YAE, MIO
Ryota Matsuda
Yume Koga
Yuko Sakurai
Nobuyuki Hirose
Kurin Kusunoki
Shuji Yamamoto
Yoko Kaneshiro
Director : Takuya Setomitsu
Cinematographer : Yuki Maxima
1st AC : Seijun Ichinose, Mitsunori Nakata
2nd AC : Takahiro Kawahara
Lighting Director : Yamato Watanabe
Lighting Assistant : Hirari Okuyama, Ginji Ono
Compogitor : Daiki Matsuo (NANON CREATIVE)
Colorist : Yusuke Adachi
Hair&Makeup : Minami Ariga, sakai
Hair&Makeup Assistant : Kanoko Fukushima
Stylist : Yuya Nakajima
Stylist Assistant : Ryusei Higa
Casting : Kentaro Masuko, Mei Shibata(SKALY)
Production Manager : Yusuke Sato, Ayana Ishikawa
Production Assistant : Shion Uchida, Tomo
Sakamoto, Mikuto Hayashi
Assistant Producer : Rikuto Yoshikawa (Cyran)
Producer : Keita Sugai (Cyran)
Production : Cyran
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