Toshio Matsumoto [24/04/2013] (Director)

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Toshio Matsumoto [24/04/2013] (Director)

Mensaje por V » Mar 01 Feb, 2011 22:51

Imagen TOSHIO MATSUMOTO Imagen
Matsumoto Toshio
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  • Matsumoto nació en Nagoya en 1932 y comenzó sus estudios en Medicina interesado en la forma de operar del cerebro y especialmente en la esquizofrenia. Pero sin informar a sus padres decidió pasarse a la carrera de Artes y estudiar Pintura por su cuenta. Impresionado por el cine de vanguardias de los años 20 y el neorrealismo italiano de los 50, Matsumoto decidió volcarse al cine experimental para «completar la unión entre realidad y expresión y poder así llegar a las mentes de las personas». De esta gran síntesis nacen sus cortos, verdaderos VIAJES por dimensiones espaciotemporales superiores representadas de formas imposibles de concebir en occidente. :arrow: http://www.mad-actions.com/mad-movies/matsumoto.htm
***

Matsumoto: At any rate, since I didn't study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.

Gerow: Afterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?

Matsumoto: Yes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement--since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West. (...)

We have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That's why there's not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.
:arrow: http://www.yidff.jp/docbox/9/box9-2-e.html


Timeline for a Timeless Story
by Jim O’Rourke, 2006
Spoiler: mostrar
“Je suis la plaie et le couteau!
Je suis le soufflet et la joue…”

-– from Charles Baudelaire’s “L’Héautontimorouménos” (collected in Les Fleurs du mal, 1857).

Funeral Parade of Roses is a dense and complex testament to the alignment of the historical machinations, filmic, political, and personal, that reached a fever point in the Summer of 1968. It is the child of a rich moment in history where all of the art forms commingled in an incredibly free playing field. It initially reflects the unique mix of aesthetics drawn from Matsumoto Toshio’s early work with Jikken-Kobo (Experimental Workshop), a group formed in 1951 dedicated to new ideas in interdisciplinary art. Among its members were painters, photographers, multimedia artist Yamaguchi Katsuhiro, composers Takemitsu Toru and Yuasa Joji, and, freshly graduated from the art department of Tokyo University, a young Matsumoto. It was here that he worked on his first film, the promotional short Bicycle (Ginrin, 1955), a bold hybrid made in collaboration with Takemitsu and Yamaguchi. But how did a young cinephile such as Matsumoto navigate through these different methods of filmmaking and the rapidly changing social and political landscape of a post-World War II Japan to arrive at Funeral Parade of Roses? This is the backstory to Matsumoto’s film, a condensed timeline for a timeless story.

From the beginning, Japanese major film studios held a strong grip on production and distribution, usually owning the theatres as well. By the early 1920s some directors had started their own production companies, such as Kinugasa Teinosuke, who made his still famous A Page of Madness (Kurutta ippeji) in 1926. While Kinugasa may have set out on his own for artistic reasons, financial considerations were also a concern. Popular actors also formed their own companies to hold more control over material and receive a larger percentage of the profits. This is not to imply there were cracks forming in the foundation of the studio system, as it was still necessary for independents to licence films to them for distribution purposes.

Standing further outside were films financed by the burgeoning socialist and communist movements in Japan. These studios, best known under the name “Proletarian Film League,” were primarily interested in advocating their concerns in union and labour struggles. The rise of communist sympathies in Japan would play an important part in encouraging the Japanese New Wave cinema of the 1960s.

By the end of the Russo-Japanese War of 1904–1905, which accelerated the overthrow of Tsar Nicholas II and the Bolshevik Revolution, Japan had secured a foothold in Korea and Taiwan. The peace treaty between the two, negotiated by US President Theodore Roosevelt, was seen by many in Japan as an insult. It granted them less land rights and little if any of the monetary reparations expected. This perceived slight was only magnified after Japan’s collaboration with Allied forces during World War I. By the end of the war, American policy towards Japan had become increasingly combative, making an effort to influence the British Government, who had a long history of collaboration with the Japanese Navy, to follow suit. This increasing slight from Western powers, who had, relatively speaking, only recently been accepted into Japan, laid the groundwork for the continuation of Japan’s territorial ambitions. By 1932 a puppet government was established in Japan-occupied Manchuria (Manchukuo), and in 1937 troops moved into China proper, starting a war which would last into World War II.

In 1934, communism was outlawed by the Japanese government, effectively bringing an end to the independent production companies such as the PFL, casting out or even imprisoning many filmmakers, writers, teachers and others sympathetic with the left. The larger film companies also found themselves hampered by mandatory submission to a censor board regulated by the Army and Navy Ministries, which strictly promoted the ideals of the traditional family and the value of sacrifice for the country. The influence of imported films with their ideas of individualism and the continuing prevalence of what were called “modern girls”? (moga, the Japanese equivalent of flappers) were to be suppressed. Imports of American films were severely curtailed and with the passage of the “Film Law”? in 1939, everyone who worked in the film industry, from entry-level assistants to leading actors and actresses, was required to be tested for competency and licenced. By the early 1940s they were required by the law to consolidate under an umbrella of major film companies which included Shochiku, Toho, and Daiei.

The effect of the Occupation at the end of World War II fills volumes of books, and while it is difficult to even scratch the surface here, it is important to note the profound effect it had on Matsumoto’s generation of filmmakers. The changes required by the peace settlement pulled the roots out from under innumerable layers of society. Religious and political persecution during the previous era was rescinded and communists, Christians, Marxists and others flooded back into the population. The major studios, already financially strapped, now had conflicts with the newly emboldened unions with strong leftist sympathies. These conflicts grew to such an extent that, for example, military forces had to be called in to assist, as in the Toho strike of 1949.

By the end of the 1940s the Allied forces refocused their energies on the growing power of Russia and China. Leftist sympathisers, who were only recently seen as emancipated political prisoners, were again under duress. Conflicts with the labour unions, growing problems with the Zengakuren (the umbrella organisation for college student government groups) as well as the American government’s own shifting priorities resulted in a sweeping anti-communist purge in all levels of society. In the film industry, technicians, composers, writers and directors lost their jobs, forcing many of them to look towards other means in order to continue working. Many of these films were funded in part by labour unions or even the Communist Party itself, and had to be independently distributed, sometimes by Hokusei Eiga, which was primarily a distributor for films from the Soviet Union. Some of these films could still find their way into mainstream cinemas, as many major studios, still under the pressure of union strife, could not keep up the rate of production needed to fill their screens. Assistant directors were promoted to help speed production, setting the stage for what is generally now called Japan’s New Wave. At Nikkatsu, Suzuki Seijun and Imamura Shohei were given their start, and at Shochiku, Oshima Nagisa, Shinoda Masahiro, and Yoshida Yoshishige began with great promise. But by the mid-1960s all three had left Shochiku under acrimonious circumstances, most famously when Oshima’s Night and Fog in Japan (Nihon no yoru to kiri, 1960), a drama that investigated the moral and political differences between two generations of leftists, was withdrawn from distribution after only a few days. Although the three organised their own production companies, they still relied on the studios for distribution. It was purportedly a time of sweeping change, but the traces of the recent past would prove to be indelible. This uneasy balancing act of the past and present is personified in the conflicting character of Prime Minister Kishi Nobusuke, who had a long and controversial career in politics. During World War II, Kishi was Minister of Commerce and Industry under Prime Minister Tojo Hideki, and fully involved in the activities in Manchuria. At the end of the war, Kishi was tried and convicted as a war criminal, resulting in his barring from public service as accorded by the Allied forces. In 1952, this restriction was lifted and Kishi began the second wave of his political career in the Democratic Party, a forerunner of the Liberal Democratic Party. It was this changing political and artistic landscape that would make Matsumoto question his own nascent work as a documentary filmmaker.

In an interview with Aaron Gerow, Matsumoto said: “Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed.”

Matsumoto initially made documentary films for Shin Riken Cinema, one of many studios dedicated to the form. He soon started an organisation called the “Association of Documentary Filmmakers”? and published the highly polemical magazine Documentary Film (Kiroku-eiga). Producers such as Shin Riken and Iwanami Productions would prove to be auspicious places for this new generation of filmmakers to begin their careers. Matsumoto worked through all levels of production, a relatively liberal education that encouraged him to reconcile his own concerns through documentary films.

In his student days, Matsumoto had been inspired by the revelations of Italian neorealist and avant-garde films and he searched for a way to fuse his seemingly disparate interests. This contrast, and his thoughts on their ability to coexist is especially enlightening in the context of the form of Funeral Parade of Roses. In his interview with Gerow, Matsumoto spoke of his attempts to bring the two together: “Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema.”

His early work with Jikken-Kobo would prove to be influential, as Matsumoto collaborated again with Takemitsu on his documentary The Song of Stones (Ishi no uta, 1963). This film, about stone cutters in Shikoku, was a radical shift in Matsumoto’s documentary work, closer to a tone poem than to straightforward documentation. The synergy between music, space, movement and stillness was a subtle but radical synthesis of Matsumoto’s stylistic and aesthetic experiences. Soon, the influence of the world pounding on art’s walls would prove to be unavoidable.

In 1960, with the impending renegotiation of US occupation (the Treaty of Mutual Cooperation and Security, better known by its Japanese shorthand name “ANPO”) protest grew to a feverish pitch. The Zengakuren sieged Haneda airport to prevent Prime Minister Kishi from flying to the US, and while it did not prevent the flight, the press coverage was considerable. By this time the group had nearly severed ranks with the socialist democratic and communist parties, disagreeing bitterly over the worth of political versus direct action. In June of 1960, the Zengakuren opted to attack the Diet Building in an assault that would result in the death of student Kanba Michiko, who would stand as a martyr-symbol for years to come. A further protest at Narita made a blunder of White House press secretary James Haggerty’s trip to prepare for President Dwight Eisenhower’s forthcoming visit. Although Prime Minister Kishi was forced to delay Eisenhower’s already highly contentious visit, the treaty was renewed in 1960.

With the rise of the Cultural Revolution in China in 1966, passions were further inflamed on campuses throughout Japan. During the next few years, the Zengakuren fractured and split into factions with varying degrees of allegiance to the Communist Party. What had previously been a face of unity dispersed into various concerns such as the American bases in Okinawa. Their possible use as a base of operations for American expansion into Vietnam implicitly involved Japan in military action, something it had been forbidden from under the terms of the peace treaty. Student-government organisations continued physical confrontations with university officials at Tokyo’s Keio and Waseda Universities, amongst many others, as well as recruitment for the growing resistance to the expansion of Narita Airport, infringing on the land rights of farmers. At first they received overwhelming support from the general public for their physical confrontations with construction workers, but by 1968, the time of the filming of Funeral Parade of Roses, US nuclear aircraft carriers were docking in Okinawa and involvement at the student protests even included high school children. By this time the early public support for these actions had begun to wane, as continuing violence both on campus and in urban areas had begun to wear out their welcome with many who were now just wanting to move on with their lives. In Funeral Parade of Roses the interviewed student protester seems almost like an outlaw, on the run from a society that just does not want to hear from students anymore.

Theatre groups also began to make a break from their past traditions. Many took their productions to alternative locations, such as Kara Juro’s “Situation Theatre,” which used its red tent to move from place to place (This group, as well as its tent, are featured prominently in Oshima’s Diary of a Shinjuku Thief (Shinjuku dorobo nikki, 1968)). Legendary playwright Terayama Shuji would also explore similar confrontational methods with his Sajiki Tenjo group, many times treating the audience as trapped victims. This street-theatre also overlapped with the growing movement of Fluxus related artists such as Genpei Akasegawa (Hi-Red Centre) and the Zero Jigen (Zero Dimension) group, whose discordant “happenings” can be seen scattered throughout Funeral Parade of Roses. The group was started in Nagoya by Kato Yoshihiro and Iwata Shinichi who soon became infamous for their “ceremonies,” as they chose to call them. Moving to Tokyo, their performances were noted for their nudity and unabashed confrontation with shoppers in the major neighbourhoods of Shinjuku, Ginza, and Shibuya. While generally ignored or even attacked by contemporary art criticism, Zero Jigen did find itself regularly chronicled in newspapers and magazines, usually under racy headlines likening them to “orgies” or “porn parties.” Unlike this inflammatory rhetoric, Zero Jigen created situations that were more in sympathy to the “ritualistic” concerns of many artists of the time, replacing overt political or literary references with a series of interchangeable movements, props, and heavy use of repetition.

Experimental film, which reaches back to the roots of Matsumoto’s early fascinations, and the new generation which was embracing the then-new video medium, is personified in “Guevera,” a critical hybrid of the many different movements that formed the underground. These activities were led in Japan by such filmmaker/artists as Iimura Takahiko and Katsuhiro and coalesced in events such as the important “Tokyo-New York Video Express” of 1974, which brought together many interdisciplinary artists such as Paik Nam June, Kubota Shigeko, Woody and Steina Vasulka, Michael Snow, Kosugi Takehisa, and even Allen Ginsberg. The electronic manipulation of television in Guevera’s film invokes the work of Paik, Yamaguchi, and Matsumoto himself, and the statement “But you must feel something with your body” makes an allusion to the growth of “system” or “structuralist” films that were concurrent to the rise of video/television art. Snow’s Wavelength (1967) and Tony Conrad’s The Flicker (1966) were two of the most internationally known films that explored the actual physical effect of time, light, and space on the viewer’s sense of consciousness, and was readily co-opted by many as an accessory to “mind-expansion.” Matsumoto himself would later make several films using his footage from Funeral Parade of Roses’ “experimental film.” In the background of these scenes you can also see the requisite poster for Terayama and Sajiki’s Rope (Jun) designed by Yokoo Tadanori. Just these scenes alone demonstrate the incredible commingling of the rebirth of all of the arts, and their cohabitation.

Another element of “underground culture” (angura) is referenced through Eddie’s participation in a pornographic film shoot, which not only heightens the complex “reality / fiction” structure of the film, but also makes a contemporary reference to the rise of underground pornography. The director in this scene is Matsumoto, who despite not making such films himself, was related in spirit to many of the new wave of pornographic, or “pink”, filmmakers. Directors found increasingly creative ways to skirt the censor, and due to its incredible revolving door production schedule and high demand for product, pornography was one of the easiest ways for a young filmmaker to get his hands on a camera. This open door policy allowed filmmakers with political and avant-garde interests (such as Adachi Masao); beefs with authority (such as Wakamatsu Koji); and highly analytical and theoretical writers (such as Yamatoya Atsushi) the latitude to create films, albeit on incredibly small budgets, in an environment that was previously closed to them. These three filmmakers are of special interest in the context of Funeral Parade of Roses, as they also worked with ATG (Art Theatre Guild), who would fund and release Matsumoto’s film, and become a nexus for the zeitgeist of the late 1960s. Adachi (also involved with Hi-Red Centre) and Yamatoya (maybe best known in the West as the author of Suzuki’s Branded to Kill (Koroshi no rakuin, 1967)) represented the talent that was coming from “film study groups” at various universities, and they, like Matsumoto, were filmmakers who had their fingers on the increasing pulse of unrest in Japan. There was collusion with other directors like Oshima (Adachi for example co-wrote Diary of a Shinjuku Thief and participated in the first ATG film, Oshima’s brilliant farce Death by Hanging (Koshikei, 1968)). Wakamatsu and Adachi’s masterpiece Ecstasy of the Angels (Tenshi no kokotsu, 1972, also for ATG) is another film, like Funeral Parade of Roses which timelessly manifested this moment of critical mass.

Doubtless, most pink film production was for the purpose of profit, and these efforts would become accepted into the mainstream as part of Nikkatsu’s “pink film” (pinku eiga) and the “pinky violence” films that were released primarily by the Toei studio. One popular Toei series was the “sukeban” films. A “sukeban” is the leader of a girl gang (dropouts, ne’er do wells, etc), and Funeral Parade of Roses features such a gang, sent out to rough up Eddie. The sequence both mimics and satirises their mannerisms, and while it would be a bit much to say that Matsumoto made the first “sukeban” short, he seems to have been a few years ahead of the curve!

It becomes apparent that all of these disparate movements seemed to share a central hub, and geographically that was East Shinjuku, a convergence of all that was outside the lines. The intermingling of all the arts was not only an aesthetic choice, but the reality of everyone being drawn to one small area, filled with old style coffee shops (kissaten), hippies, galleries, bars (both gay and otherwise), protesters, expatriates of every stripe, musicians, filmmakers, writers, philosophers, and of course police. It was the most contaminated of petri dishes, and that means culture. It was here that the ATG was born. I will concede here to the accompanying text by Roland Domenig to more fully expand on the importance of the ATG, and how it was not only a child of the history above, but the new beginning of one of Japan’s most brilliant eras of film.
http://eurekavideo.co.uk/moc/catalogue/ ... oses/essay

Última edición por V el Mié 24 Abr, 2013 17:34, editado 1 vez en total.

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Re: Toshio Matsumoto (Director)

Mensaje por V » Mar 01 Feb, 2011 22:53

Ginrin
AkaSilver Ring
Año 1955
Idioma Japanese
Duración 12 minutos
Productora Shin Riken-eiga
Hilo en DXC
Comentario
The first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and Takemitsu Toru–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.
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Senkan
AkaCaisson
Año 1956
Idioma Japanese
Duración minutos
Productora
Hilo en DXC
Comentario
The next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.
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Haru o yobu kora
AkaCalling Spring
Año 1959
Idioma Japanese
Duración minutos
Productora
Hilo en DXC
Comentario
The next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)1 shot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.
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Nishijin
AkaThe Weavers of Nishijin
Año 1962
Idioma Japanese
Duración minutos
Productora Kyoto Documentary Film Society
Hilo en DXC Imagen
Comentario
Nishijin is an old quarter of Kyoto, home to craftsmen who specialise in the production of silk for kimonos. Matsumoto constructs a film-poem in the midst of the quarter’s maze of lanes and alleyways. The film won the Silver Lion for the best documentary at the Venice Festival.
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Ishi no uta
AkaThe Song of Stone
Año 1963
Idioma Japanese
Duración 24 minutos
Productora
Hilo en DXC Imagen
Comentario
While extracting and polishing their blocks of stone, stonecutters used to say “the stone is coming to life". This paradox provided Matsumoto with the best metaphor for what making a film is all about. In his opinion, filmmakers work images in the same way that stonecutters work stones. Premiered in France, the film was enthusiastically received by the critics, particularly George Sadoul.
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Haha-tachi
AkaMothers
Año 1967
Idioma Japanese
Duración 36 minutos
Productora Dentsu Advertising
Hilo en DXC Imagen
Comentario
"...So what I made was a lyrical, easy-to-understand film in the style of a cine poem... But in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily--I don't know if you can say that--the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival... and in fact it did give me the opportunity to make other films like the Funeral Parade of Roses."
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Tsuburekakatta migime no tame ni
AkaFor My Crushed Right Eye aka For the Damaged Right Eye
Año 1968
Idioma
Duración 13 minutos
Productora Art Theatre Guild
Hilo en DXC Imagen
Comentario
Una fuente de inspiración para La Naranja Mecánica, esta pieza de montaje en pantalla dividida [con un tercer plano que se sobreimpone ocasionalmente] explora el fenómeno de la percepción y del surgimiento de la profundidad gracias al ángulo paraláctico generado por la separación de los ojos [45-75mm]. Se sugiere al espectador que impida la visión de su ojo derecho durante la proyección. Claramente relacionado con su largo Funeral Parade of Roses, es uno de los pocos cortos donde explora el mundo contemporáneo [el Japón pop-sesentero] con su descontento político, la incipiente libertad sexual y los deseos de los jóvenes underground de abolir “todas las definiciones de Cine”.
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Ecstasis
Aka
Año 1969
Idioma None
Duración 11 minutos
Productora
Hilo en DXC Imagen
Comentario
Ecstasis makes an actual appearance inside the Funeral Parade of Roses: it is nothing else than the minimalist short that the group of underground youths watches before they proclaim that "all definitions of cinema have been erased".
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Última edición por V el Mié 24 Abr, 2013 17:28, editado 1 vez en total.

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Re: Toshio Matsumoto (Director)

Mensaje por V » Mar 01 Feb, 2011 22:53

Bara no sôretsu
AkaFuneral Parade of Roses
Año 1969
Idioma Japanese
Duración 107 minutos
Productora Art Theatre Guild, Matsumoto Production Company
Hilo en DXC Imagen
Comentario
A feverish collision of avant-garde aesthetics and grind-house shocks (not to mention a direct influence on Stanley Kubrick’s A Clockwork Orange), Funeral Parade of Roses takes us on an electrifying journey into the nether-regions of the late-’60s Tokyo underworld. In Toshio Matsumoto’s controversial debut feature, seemingly nothing is taboo: neither the incorporation of visual flourishes straight from the worlds of contemporary graphic-design, painting, comic-books, and animation; nor the unflinching depiction of nudity, sex, drug-use, and public-toilets. But of all the “transgressions” here on display, perhaps one in particular stands out the most: the film’s groundbreaking and unapologetic portrayal of Japanese gay subculture.

Cross-dressing club-kid Eddie (played by real-life transvestite entertainer extraordinaire Peter, famed for his role as Kyoami the Fool in Akira Kurosawa’s Ran) vies with a rival drag-queen (Osamu Ogasawara) for the favours of drug-dealing cabaret-manager Gonda (Yoshio Tsuchiya, himself a Kurosawa player who appeared in such films as Seven Samurai, Throne of Blood, and High and Low). Passions escalate and blood begins to flow — before all tensions are released in a jolting climax that prefigures by nearly thirty years Tsai Ming-liang’s similarly scandalous The River. ---EUREKA!
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Castellano | English


Shura
AkaDemons, Pandemonium
Año 1971
Idioma Japanese
Duración 135 minutos
Productora Art Theatre Guild, Matsumoto Production Company
Hilo en DXC Imagen
Comentario
Conceived as a lacerating attack on the Japanese film industry's typical 'heroic' samurai movies, this Japanese independent adapts an 18th century kabuki play to remarkably provocative effect. The plot, as schematic and stylised as a Jacobean tragedy, deals with a would-be samurai's descent into a hell of his own making as he seeks revenge on a couple who trick him. Matsumoto couldn't have realised the psychological passions or the violence with more terrifying force, but his aim is exorcism, not indulgence: the reflective, ultra-formal shooting style, and strategies like the use of captions as 'chapter headings', force the audience to read the film as a complex web of metaphors. The integrity and aesthetic daring of the result are doubtless what caused the British censor to ban it. ---Time Out Film Guide
Enlace a la película
ed2k linkShura.1971.DVDRip.XviD-ZOIC.cd1.avi ed2k link stats
ed2k linkShura.1971.DVDRip.XviD-ZOIC.cd2.avi ed2k link stats
Subtítulos
Castellano


Metastasis: Shinchin taisha
AkaMetastasis
Año 1971
Idioma None
Duración 8 minutos
Productora Matsumoto Production Company
Hilo en DXC Imagen
Comentario
Metastasis and Mona Lisa build upon the various color manipulations and substitutions. In Metastasis, a static shot of a toilet bowl serves as the raw material.
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.2.3.-.Metastasis.(1971).DVDRip.avi ed2k link stats
Subtítulos


Expansion: Kakuchou
AkaExpansion
Año 1972
Idioma None
Duración 14 minutos
Productora
Hilo en DXC Imagen
Comentario
Expansion is a re-working of Ecstasis, enhanced with flickering color, image re-duplication and a psychedelic rock soundtrack.
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.3.1.-.Expansion.(1972).DVDrip.avi ed2k link stats
Subtítulos


Mona Lisa
Aka
Año 1973
Idioma None
Duración 3 minutos
Productora
Hilo en DXC Imagen
Comentario
Metastasis and Mona Lisa build upon the various color manipulations and substitutions. I will leave it for you to guess what serves as the raw material in Mona Lisa.
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.2.4.-.Mona.Lisa.(1973).DVDRip.avi ed2k link stats
Subtítulos


Juroku-sai no senso
AkaWar of the 16 Year Olds
Año 1973
Idioma Japanese
Duración 94 minutos
Productora Matsumoto Production Company, Sun Office
Hilo en DXC Imagen
Comentario
The film serves as a tribute to those that lost their lives during the air raid on the Toyokawa Naval Arsenal on August 7, 1945.

As it's experimental and dream-like, you may quite possibly derive further meaning from it.
Enlace a la película
ed2k linkJuroku-sai no senso aka The War of the 16 Year Olds.avi ed2k link stats
Subtítulos
Castellano


Andi Uohoru: Fukubukusei
AkaAndy Warhol: Re-Reproduction
Año 1974
Idioma None
Duración 23 minutos
Productora
Hilo en DXC Imagen
Comentario
Andy Warhol (Re-production) is a suitably non-sensical presentation of documentary footage about Andy Warhol's visit to Japan.
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.3.2.-.Andy.Warhol.-.Re-production.(1974).DVDrip.avi ed2k link stats
Subtítulos


Siki soku ze ku
AkaEverything Visible is Empty
Año 1975
Idioma None
Duración 8 minutos
Productora
Hilo en DXC Imagen
Comentario
Matsumoto continúa su análisis de la percepción sensorial volviéndose esta vez hacia nuestra capacidad de abstracción y de construcción de símbolos. ¿Representa el nombre del objeto la esencia misma del objeto? Y por cierto, ¿existe el objeto en sí o es consecuencia de la percepción o de un concepto a priori? Un trabajo sumamente inquietante a la vez que hipnótico, donde los sentidos se ven forzados a la “creación” de la imagen por la aliteración exacerbada. Sin palabras.
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.3.3.-.Everything.visible.is.empty.(1975).DVDrip.avi ed2k link stats
Subtítulos


Phantom
Aka
Año 1975
Idioma None
Duración minutos
Productora
Hilo en DXC Imagen
Comentario
Otra gran obra del año milagroso de Matsumoto. Este corto retoma la imaginería de las religiones orientales que trabaja en su largo Shura [1971] trabajando el color como otra dimensión. Al modificar la posición de la cámara en desfase con la base interpupilar, la percepción esquizofrénica de esta realidad se hace carne.
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.2.5.-.Phantom.(1975).DVDRip.avi ed2k link stats
Subtítulos

Última edición por V el Mié 24 Abr, 2013 17:29, editado 1 vez en total.

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V
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Re: Toshio Matsumoto (Director)

Mensaje por V » Mar 01 Feb, 2011 22:53

Atman
Aka
Año 1975
Idioma None
Duración 12 minutos
Productora
Hilo en DXC Imagen
Comentario
Una pieza espectacular que quita el aliento. Nuevamente haciendo referencia a la religión oriental [Atman es ese ser omnisciente como el hálito del universo que “anima” las cosas] Matsumoto indaga en la naturaleza del Tiempo. ¡Y cómo! Durante un latido del corazón de Atman una galaxia entera surge y se desvanece en el cosmos. Nuestro autor construye a su personaje a través de la fragmentación circular del espacio [en diversos radios], llegando paradójicamente a anular el espacio para convertirse en pura expresión [a]temporal. Cómo lo hace, es imposible de describir [ayuda saber que utiliza mayormente montaje fotográfico].
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.2.6.-.Atman.(1975).DVDRip.avi ed2k link stats
Subtítulos


Enigma: Nazo
AkaEnigma
Año 1978
Idioma None
Duración 3 minutos
Productora
Hilo en DXC Imagen
Comentario
Una de sus pocas incursiones en el mundo netamente digital [por suerte, ya que lo mejor de Matsumoto está en su tratamiento de lo analógico], este corto abstracto reconstruye el enigma del universo desde sus orígenes hasta su fin [claro que en una narrativa circular, es imposible determinar cuál es cuál...]
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.3.4.-.Enigma.(1978).DVDrip.avi ed2k link stats
Subtítulos


White Hole
Aka
Año 1979
Idioma None
Duración 6 minutos
Productora
Hilo en DXC Imagen
Comentario
White hole presents a wide variety of explosions, both recorded and simulated.
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.2.7.-.White.hole.(1979).DVDRip.avi ed2k link stats
Subtítulos


Ki = Breathing
Aka
Año 1980
Idioma None
Duración 29 minutos
Productora
Hilo en DXC Imagen
Comentario
Ki or Breathing is a spare concoction assembled from low motion shots of nature and set to a score by the much-acclaimed Tohru Takemitsu.
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.2.8.-.Ki.or.Breathing.(1980).DVDRip.avi ed2k link stats
Subtítulos


Connection
Aka
Año 1981
Idioma None
Duración 9 minutos
Productora
Hilo en DXC Imagen
Comentario
Para relajarnos un poco, Connection deja de lado el montaje epiléptico de sus piezas anteriores para indagar en el acto de la respiración sugerida por el movimiento circular dentro de diversas áreas superpuestas. Con una banda sonora espectacular [como todas las bandas de sus pelis], este corto es un viaje por la sincronicidad y la divergencia entre planos espaciales.
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.3.5.-.Connection.(1981).DVDrip.avi ed2k link stats
Subtítulos


Relation: Kankei
AkaRelation
Año 1982
Idioma None
Duración 8 minutos
Productora Teh Video Center
Hilo en DXC Imagen
Comentario
In Relation, the focus of the viewer's attention is guided (and mocked) by pointers moving through the screen.
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.3.6.-.Relation.(1982).DVDrip.avi ed2k link stats
Subtítulos


Shift: Dansou
AkaShift
Año 1982
Idioma None
Duración 9 minutos
Productora
Hilo en DXC Imagen
Comentario
Los 80’ parecen guiar a Matsumoto hacia el espacio 3D y en concreto, hacia la arquitectura y sus posibilidades. En Shift, algo así como “Desplazamiento”, nuestro autor destruye la imagen eterna y estática de la arquitectura dividiendo el plano de narración en líneas horizontales y desfasando los cuerpos 3D en una cuarta dimensión. Un trabajo realmente impresionante que no puede dejar indiferente a nadie [a pesar de esa manita digital que aparece cada tanto para señalarnos dónde fijar nuestra atención... ¡No olvidemos que eran los 80’s!]
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.3.7.-.Shift.(1982).DVDrip.avi ed2k link stats
Subtítulos


Yuragi: Sway
AkaSway
Año 1985
Idioma None
Duración 8 minutos
Productora
Hilo en DXC Imagen
Comentario
Por si todo lo anterior fuera poco, Matsumoto se pone las botas poniéndonos cada tanto en la piel del autor frente a una moviola de cine, donde la película revela sus secretos [como una falta de sincro vertical o la banda sonora en el lateral] y descubre una nueva dimensión a través de curvaturas en su plano. Sway, ese gentil movimiento de los árboles en la brisa, hace literalmente “respirar” a la película.
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.3.8.-.Sway.(1985).DVDrip.avi ed2k link stats
Subtítulos


Engram: Kioku konseki
AkaEngram
Año 1987
Idioma Japanese
Duración 12 minutos
Productora
Hilo en DXC Imagen
Comentario
Y concluimos con un favorito. Este corto hace dialogar a la fotografía, el cine y la arquitectura para construir dimensiones superiores al espectro humano. Engram es la persistencia de la memoria en el cerebro, el trazo permanente y latente que queda en nuestras mentes tras un estímulo “memorable”. Sin dudas, estas obras de Matsumoto dejarán huellas que persistirán en nuestra percepción cotidiana de la realidad.
Enlace a la película
ed2k linkToshio.Matsumoto.-.Experimental.film.works.-.3.9.-.Engram.(1987).DVDrip.avi ed2k link stats
Subtítulos


Dogura magura
AkaAbrakadabra
Año 1988
Idioma Japanese
Duración 109 minutos
Productora Katsujindo Cinema, Toshykanky Kaihatsu AG
Hilo en DXC Imagen
Comentario
A man is confined to a mental institution after trying to murder his fiancee. Two doctors relate his problem to an Asian philosophy that states that mental defects are transmitted from generation to generation. He learns that one of his distant ancestors murdered his wife as a way of demonstrating a point to his lord about the importance of love over the emptiness of lust and to drive home the point further, created a series of illustrations of the dead woman decaying which in turn trigger the memories of his distant descendent. But is the whole thing merely a game concocted by the two doctors, who may even have driven themselves mad?
Enlace a la película
ed2k linkDogura.Magura.(Toshio.Matsumoto,.1988).DVDRip-ESPiSE.avi ed2k link stats
Subtítulos
Castellano

Última edición por V el Mié 24 Abr, 2013 17:30, editado 1 vez en total.

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Dardo
Arrow Thrower Clown
Mensajes: 18095
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Ubicación: Entre Encinas y Dolomías

Re: Toshio Matsumoto [1/2/2011] (Director)

Mensaje por Dardo » Mar 01 Feb, 2011 23:12

Me ha hiptonizado V, creo que cuando tenga tiempo me veré algo de Matsumoto.

Muchas gracias por la filmo y te felicito :plas:

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V
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Re: Toshio Matsumoto [1/2/2011] (Director)

Mensaje por V » Mié 02 Feb, 2011 00:14

Bájate Shura.

Los cortos casi que son para verlos ya hipnotizado... :bigeek:

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Jacob
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Re: Toshio Matsumoto [1/2/2011] (Director)

Mensaje por Jacob » Mié 02 Feb, 2011 05:26

Qué chulada. Gracias, V.

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Billy Fisher
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Re: Toshio Matsumoto [1/2/2011] (Director)

Mensaje por Billy Fisher » Mié 02 Feb, 2011 06:09

Fantástico trabajo V, muchas gracias.
:plas: :plas:
Quizá este mundo es el infierno de otro planeta.
Aldous Huxley

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V
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Re: Toshio Matsumoto [24/04/2013] (Director)

Mensaje por V » Mié 24 Abr, 2013 17:39

El largo que faltaba:
Juroku-sai no senso (Toshio Matsumoto, 1973) DVDRip VOSE

Subtítulos en castellano gracias a la gente de Allzine. :!:


La entrevista que abría el mensaje inicial ha desaparecido de youtube. :dead:

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