The Experimental Image World of Shuji Terayama (1962-1977) DVDRip VOSE

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[imgr]http://img842.imageshack.us/img842/9444/001tomat.jpg[/imgr]THE EXPERIMENTAL IMAGE WORLD OF SHUJI TERAYAMA

Shuji Terayama Jikken Eizo World, Shuuji Terayama, Shûji Terayama, Shūji Terayama

Through the Terayama looking glass
Donald Richie

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Shuji Terayama (1935-1983), one of Japan's most famous poets and playwrights, first wanted to become a photographer. While still a child he hung around the local photo parlor so often that his mother finally told him that so much picture-taking would make him dwindle away to nothing at all.

The magical properties of the photographic image, still or moving, stayed with him all of his life. In photographs and films as well as on the stage, he created his own kingdom, one based on his own childhood. In plays such as "La Marie Vision," feature films like "Cache-Cache Pastoral" and in the shorter films here collected, he created a place where mothers kill their young and children do indeed dwindle away to nothing at all.

Their world is set in the Taisho Era, one that Terayama was not old enough to remember but here reconstructs: flapper frocks, cloche hats, windup phonographs and the Victor dog, gakusei (student) uniforms, fundoshi (Japanese loin cloths), Japanese wedding kimono, loosened obi. All of this in a chaotic clutter and yet also arranged with a certain sense of style.

Terayama has elsewhere written that it is not the camera's ability to tell the truth that is interesting, but it is its ability to lie. He can make us truly believe in this claustrophobic, closed, dead world, where we are forced voyeurs. This four-DVD set of almost all of his shorter films (the very first, "Catology," has been lost for years) drags us into his disturbing kingdom -- a coherent and forceful expression of an imagination, dreamlike but startlingly real.

The earliest of these short films, "The Cage" (1964-69), introduces some of the recurring images: clocks, father-figures in black capes, body-builders. "Butterfly" (1974) reflects early memories -- shadows, people walking in front of the screen. (When a boy, Terayama used to sleep under the screen of a local movie theater and awake to gigantic images above him, and the shadows of viewers in front of the projector.)

In "Laura" (1974), movie memories turn self-referential. Two strippers on the screen start talking back to the audience: "Hey, you in the front row, stop it. Oh, we know what kind of people come to see experimental films!" The "Movie Guide for Young People" uses three screens and offers various transgressions -- including one actor who relieves himself on us (i.e. the camera lens).

"Labyrinth" (1975) takes us outside: two men trying to transport an entire doorway, complete with door. The door appears again in "Smallpox Story," which also features nails being driven into skulls. "Der Prozess," the last of the 1975 films, is an extended (34 min.) love scene that could probably not be shown in theaters even now.

"Father" is a portrait of his missing parent (killed in the Pacific War), and "The Eraser" (both 1977 films) includes a number of Terayama-like fetishes -- old photos erased or torn up, or stitched together. "Isumboshi" features the love-life of a dwarf, and "Shadow Film" is just that, shadows on the screen.

There are several more of these short films and there are two versions of the infamous "Emperor Tomato Ketchup" (1970). This film is about children in revolt. Like the kids in Jean Vigo's "Zero de Conduit," they take over and (in the words of Amos Vogel in "Film as a Subversive Art") "condemn their parents to death for depriving them of self-expression and sexual freedom." There is a lot of nudity and much simulated sex -- though killing a chicken on camera is perhaps the most distressful of the scenes.

The film has been often banned and the 75-minute original (here included) exists only as single 16-mm print. Terayama made a shortened version (27 min., here included) and there is an even shorter extract, the 12-min. "Jan-Ken-Po War" also included in this set.

Finally there is a compilation film, "Catalogue of Memory" (1977) by Michi Tanaka, a close associate of Terayama's, one in which Terayama himself appears.

The package is quite foreigner-friendly. The menu is bilingual, and English subtitles are provided whenever the text is on the sound track. When the text is a part of the image, however, as in "Les Chants de Maldoror," there is no translation. You can also buy these DVDs singly.

That the collection is sometimes upsetting is to be expected -- it was intended to be. Terayama is not only the sleeping child, he is also the sinister magician and through the magic of film he reigns over his embattled kingdom.

It is embattled because it is a vision of childhood with all the terror and cruelty retained, and because mother was right: If you take too many pictures you dwindle away. This dwindling process is called maturity. When you have entirely evaporated you are an adult.

http://search.japantimes.co.jp/cgi-bin/ ... 107dr.html

Children of the Revolution
Taro Nettleton

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It’s rare that an experimental filmmaker’s grave is regularly visited by weeping fans. But Shuji Terayama, who died in 1983, is an unusual case. The protean and prolific artist was most acclaimed in his native Japan as an avant-garde dramatist and poet, although he was also celebrated for the lyrics he wrote for pop songs (including Carmen Maki’s 1969 debut single, “Sometimes I Feel Like a Motherless Child”) and his boxing and horse-racing criticism. He was both a public figure and avant-garde artist, two roles that—Warhol aside—seem irreconcilable in the US. One of Japan’s most popular comedians, Kazuyoshi Morita, still performs a famous impersonation of Terayama, which is akin to Jay Leno being known for his Jack Smith impression—if only Leno had four regular programs on TV and Smith had penned lyrics to Loretta Lynn’s songs.

Yet outside a small circle of cinephiles, Terayama remains obscure in the West. Only two of his narrative films, including Fruits of Passion: The Story of “O” Continued (1981), starring Klaus Kinski, are available on DVD in the US, and none of his experimental films have been released there. Last year Tokyo’s Daguerreo released the DVD boxed set The Experimental Image World of Shuji Terayama, whose trickling out beyond Japan may help Terayama reach wider acclaim. The dominant themes of his oeuvre—critiques of origins and traditional family structure—remain relevant to Japanese cultural production today, as so much of the latter capitalizes on associations between Japan, cuteness, and images of infantility.

Befitting a man who questioned the primacy of origins, Terayama frequently revised his biography. Nevertheless, he was born in rural Aomori Prefecture in 1935 and escaped at the age of 10 with his mother from their hometown after it was bombed in an air raid. That year Terayama’s father was killed while stationed in Manchuria, which, as Terayama put it, absolved him of the Freudian impulse to kill his father or sleep with his mother. By the age of 15 Terayama was publishing poems; by 20 he had scripted his first play at Waseda University, where he studied literature. His first screenplay, A 19-Year-Old’s Blues, based on Nelson Algren’s Never Come Morning (1942), was written in 1959, and the following year he directed a now-lost 16 mm film that allegedly documented cats being pushed off the roof of a high-rise building. In 1967 Terayama established the theatrical troupe Tenjo Sajiki (the name was taken from the Japanese release title of Marcel Carné’s 1945 Les Enfants du paradis but roughly translates to “peanut gallery”). He claimed the group was partly composed of runaways who had arrived at his doorstep—a product, one assumes, of a series of essays and lectures in which Terayama encouraged young adults to leave home. Although he would direct five feature-length films before his death at age 48, it is chiefly Terayama’s experimental films—informed by other avant-gardes like Surrealism and British expanded cinema—that continue to reverberate today.

The 1970 Emperor Tomato Ketchup, Terayama’s best-known experimental film and a high point of his interrogation of origins and teleology, issues from some key historical contexts. Its roots lie in his 1960 radio play The Parent Hunt, in which a child stabs his father after being beaten for not doing his homework, triggering a child rebellion. In Emperor Tomato Ketchup, a violent regime of rule by children is unleashed by a similar episode. The film’s opening scene shows a group of armed kids looking on as a girl is spanked by her mother, while her father, in makeup, holds her still. The year 1970, like 1960, was one in which the US–Japan Security Treaty was ratified, guaranteeing the continued existence of US military bases in Japan. Many there felt the treaty compromised the country’s independence and involved it in US neocolonialist agendas and the cold war. In 1960 Michiko Kanba, a Tokyo University student, became the first casualty of demonstrations protesting the treaty’s renewal; her death became a cause célèbre of the Left for the decade that followed.

An oblique representation of Japan’s fascist, colonialist behavior during the Asia-Pacific War, Emperor Tomato Ketchup casts 70 nameless children as fascists who have imprisoned all adults under the rule of the titular emperor dressed in European military attire, complete with a bicorne hat à la the Meiji emperor. Barring Kenneth Anger’s Scorpio Rising (1964), there may not be a campier film that evokes the aesthetics of fascism. Shot in black-and-white 16 mm, primarily with a handheld camera, the film comprises a series of short shots, surrealistically juxtaposed, without synced sound. The film’s sex scenes between male children and adult women have kept it from being frequently screened outside Japan, but they are hardly gratuitous in the way they play off the relationship between fascism and sexuality (see, for example, Susan Sontag’s famous 1975 essay “Fascinating Fascism”). While the film’s most shocking scenes show the prepubescent emperor frolicking in a mock orgy with adult women, their spirit closely suggests the flaccid playfulness and polymorphous sexuality of the orgy scenes in Jack Smith’s Flaming Creatures (1963).

And yet to focus exclusively on these bodily spectacles is to miss the film’s point. Through such scenes the film critiques US–Japan power relations and, moreover, Japan’s symbolic infantilization. In Western discourse the perceived diminutiveness of the Japanese has long been used to naturalize their infantilization. This obsession can be seen in works as recent as Sofia Coppola’s Lost in Translation (2003) and traced all the way back to noted Japanologist Lafcadio Hearn, who wrote of Japan in 1891, “Elfish everything seems; for everything as well as everybody is small, and queer, and mysterious.” As if in response, Emperor Tomato Ketchup seems to take at face value Wilhelm Reich’s words “Fascist mentality is the mentality of the ‘little man’” to deconstruct this Western impulse, a subtext of the occupying forces’ interpretation of Japan’s fascist acts as a childish aberration that American reeducation would cure. General Douglas MacArthur, who led the US occupation of Japan, famously described the country as a “nation of 12-year-olds,” a characterization that both exculpated and diminished its people.

Curiously, Emperor Tomato Ketchup treats postwar US–Japan relations not only thematically but structurally. The film had its debut as part of a double bill with a Godard film in Tokyo. “I felt quite confident about the film at the time, but it was very unpopular,” Terayama explained in 1980. “I cut a little and a little more, and finally a film that was over two hours long was now only about 40 minutes long.” This shortening parallels the way Emperor Tomato Ketchup shrinks Japanese adults to children, as well as the symbolic diminution of the pattern’s archetype, Emperor Hirohito, who after the war shrank from a god to a man, and then to a child, towered over by General MacArthur in their infamous “wedding photo.” This shrinking critiques the narrative that would have Japan “mature” into capitalist democracy—a narrative imposed on the country from without, much like the family structure that Terayama despised for being forced on the child.

Aware, however, that stereotypes cannot be undone through oppositional means, Terayama refused to construct the film as a positive statement of identity. Instead, the film suggests that self-representation is relational, underscoring how Japan’s identity had been constructed by the US. The last scene employs an audio track from Kon Ichikawa’s Tokyo Olympiad (1965) laid over a shot of three children dressed up as national leaders, including Emperor Tomato Ketchup, at the opening ceremony of the 1964 Tokyo Games. As they watch, they trade their respective glue-on mustaches, suggesting that the Tokyo Olympics were stagecraft performatively inscribing Japan into adulthood. Asserting that the difference between Emperor Tomato Ketchup the kiddie fascist and the mature capitalist is a mere fake moustache, Terayama points to the emptiness of the idea that capitalist democracy is progress.

In the end, the way the film uses the figure of the child may be its most haunting aspect. The image of a city seized by children harks back to Tokyo’s ubiquitous war orphans. Having lost their parents during air raids, children were left homeless after World War II and subsequently punished by police for occupying public spaces. It’s difficult not to see Terayama’s fascist children policing the streets of Tokyo as the return of the repressed. Likely the full meaning of this repression went unrecognized until youth took over the streets in massive protests throughout the ’60s, which Terayama’s film creatively inverts—the left-wing students becoming even younger and thrust to the other side of the political spectrum. That they engage in simulated sex is another indication of Terayama’s remarkable acuity as a filmmaker. Just as Emperor Tomato Ketchup gives meaning to traumatic past experiences—those of the Asia-Pacific War and the immediate postwar period—the full significance of the experience lived by the children in the film can only be understood through, as Freud would suggest, deferred action, with their memories lying in wait to be triggered by another scene at another time.

http://www.artinfo.com/news/story/25732 ... revolution

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Ori | The Cage (1962)

(1962) The Cage (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1962) The Cage [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 170 MB (or 174,954 KB or 179,153,308 bytes)
Runtime......: 00:10:49 (15,569 fr)
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Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 123 kb/s (61/ch, stereo) VBR

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Tomato Kechappu Kōtei | Emperor Tomato Ketchup (1970-1971)

*Laurent Tenzer: Why are there two versions of Emperor Tomato Ketchup?

Morisaki Henrikku: Terayama thought that the film was too long and asked Takase Uzui, the assistant director for Throw away your books, to prepare a shorter and more cinematic version. That was his choice. I personally prefer the long version that lasts over an hour.

Versión de 72 minutos (1970)

(1970) Emperor Tomato Ketchup (72') (The Experimental Image World of Shuji Terayama) DVDRip.avi

English subtitles | Subtítulos en castellano (traducción casera de 205 líneas; necesitan revisión)

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Name.........: (1970) Emperor Tomato Ketchup (72') [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 1,097 MB (or 1,123,401 KB or 1,150,363,000 bytes)
Runtime......: 01:06:58 (96,331 fr)
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Audio Bitrate: 120 kb/s (60/ch, stereo) VBR

Versión de 27 minutos (1971)

(1971) Emperor Tomato Ketchup (27') (The Experimental Image World of Shuji Terayama) DVDRip.avi

Subtítulos en castellano (traducción de Allzine)

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Name.........: (1971) Emperor Tomato Ketchup (27') [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 440 MB (or 450,625 KB or 461,440,284 bytes)
Runtime......: 00:27:14 (39,189 fr)
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Audio Bitrate: 120 kb/s (60/ch, stereo) VBR

Janken Sensō | The War of Jan-Ken Pon (1971)
Es un extracto de la versión larga.

(1971) The War of Jan-Ken-Pon (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1971) The War of Jan-Ken-Pon [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 196 MB (or 201,684 KB or 206,524,650 bytes)
Runtime......: 00:12:12 (17,543 fr)
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Video Codec..: XviD
Video Bitrate: 2130 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 120 kb/s (60/ch, stereo) VBR

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Chōfuku-ki | Butterfly (1974)

(1974) Butterfly (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1974) Butterfly [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 112 MB (or 114,821 KB or 117,577,560 bytes)
Runtime......: 00:12:02 (17,302 fr)
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Video Codec..: XviD
Video Bitrate: 1175 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 120 kb/s (60/ch, stereo) VBR

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Rolla | Laura (1974)

(1974) Laura (The Experimental Image World of Shuji Terayama) DVDRip.avi

Subtítulos en castellano (traducción de Allzine)

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Name.........: (1974) Laura [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 97.0 MB (or 99,339 KB or 101,723,240 bytes)
Runtime......: 00:08:46 (12,622 fr)
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Video Codec..: XviD
Video Bitrate: 1418 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 119 kb/s (59/ch, stereo) VBR

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Seishōnen no Tame no Eiga Nyūmon | Movie Guide for Young People (1974)

(1974) Movie Guide for Young People (The Experimental Image World of Shuji Terayama) DVDRip.avi

Pantalla 1

(1974) Movie Guide for Young People (1) (The Experimental Image World of Shuji Terayama) DVDRip.avi

Pantalla 2

(1974) Movie Guide for Young People (2) (The Experimental Image World of Shuji Terayama) DVDRip.avi

Pantalla 3

(1974) Movie Guide for Young People (3) (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1974) Movie Guide for Young People [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 33.8 MB (or 34,677 KB or 35,509,424 bytes)
Runtime......: 00:03:05 (4,432 fr)
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Video Codec..: XviD
Video Bitrate: 1407 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 122 kb/s (61/ch, stereo) VBR

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Meikyū-tan | A Tale of Labyrinth (1975)

(1975) A Tale of Labyrinth (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1975) A Tale of Labyrinth [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 157 MB (or 161,543 KB or 165,420,040 bytes)
Runtime......: 00:16:19 (23,470 fr)
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Video Codec..: XviD
Video Bitrate: 1224 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 120 kb/s (60/ch, stereo) VBR

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Hōsō-tan | A Tale of Smallpox (1975)

(1975) A Tale of Smallpox (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1975) A Tale of Smallpox [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 279 MB (or 285,873 KB or 292,734,128 bytes)
Runtime......: 00:31:19 (45,048 fr)
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Video Codec..: XviD
Video Bitrate: 1120 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 118 kb/s (59/ch, stereo) VBR

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Shimpan | Der Prozess (1975)

(1975) Der Prozess (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1975) Der Prozess [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 336 MB (or 344,590 KB or 352,860,688 bytes)
Runtime......: 00:34:04 (49,006 fr)
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Video Codec..: XviD
Video Bitrate: 1254 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 118 kb/s (59/ch, stereo) VBR

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Keshigomu | The Rubber (1977)

(1977) The Rubber (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1977) The Rubber [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 274 MB (or 280,824 KB or 287,564,420 bytes)
Runtime......: 00:20:22 (29,291 fr)
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Video Codec..: XviD
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FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 119 kb/s (59/ch, stereo) VBR

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Marudororu no Uta | Les Chants de Maldoror (1977)

(1977) Les Chants de Maldoror (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1977) Les Chants de Maldoror [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 371 MB (or 380,536 KB or 389,668,898 bytes)
Runtime......: 00:27:20 (39,328 fr)
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Video Codec..: XviD
Video Bitrate: 1772 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 120 kb/s (60/ch, stereo) VBR

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Issunbōshi o Kijutsusuru Kokoromi | An Attempt to Describe the Measure of a Man (1977)

(1977) An Attempt to Describe the Measure of a Man (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1977) An Attempt to Describe the Measure of a Man [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 286 MB (or 293,663 KB or 300,711,296 bytes)
Runtime......: 00:19:01 (27,358 fr)
------------------ Video ------------------
Video Codec..: XviD
Video Bitrate: 1980 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 120 kb/s (60/ch, stereo) VBR

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Nitō-onna: Kage no Eiga | Shadow Film: A Woman with Two Heads (1977)

(1977) Shadow Film - A Woman with Two Heads (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1977) Shadow Film - A Woman with Two Heads [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 263 MB (or 269,421 KB or 275,887,892 bytes)
Runtime......: 00:16:18 (23,437 fr)
------------------ Video ------------------
Video Codec..: XviD
Video Bitrate: 2126 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 123 kb/s (61/ch, stereo) VBR

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Shokenki | The Reading Machine (1977)

(1977) The Reading Machine (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1977) The Reading Machine [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 327 MB (or 335,134 KB or 343,177,344 bytes)
Runtime......: 00:22:02 (31,702 fr)
------------------ Video ------------------
Video Codec..: XviD
Video Bitrate: 1947 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 121 kb/s (60/ch, stereo) VBR

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Father (1977)

(1977) Father (The Experimental Image World of Shuji Terayama) DVDRip.avi

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Name.........: (1977) Father [The Experimental Image World of Shuji Terayama] DVDRip.avi
Filesize.....: 38.8 MB (or 39,811 KB or 40,766,960 bytes)
Runtime......: 00:03:01 (4,332 fr)
------------------ Video ------------------
Video Codec..: XviD
Video Bitrate: 1677 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 119 kb/s (59/ch, stereo) VBR

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Y un extra:

Catalogue Of Memory (Michi Tanaka, 1977)

Catalogue of Memory (Michi Tanaka, 1977) DVDRip (The Experimental Image World of Shuji Terayama).avi

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Name.........: Catalogue of Memory (Michi Tanaka, 1977) DVDRip [The Experimental Image World of Shuji Terayama].avi
Filesize.....: 57.3 MB (or 58,718 KB or 60,127,268 bytes)
Runtime......: 00:04:03 (5,817 fr)
------------------ Video ------------------
Video Codec..: XviD
Video Bitrate: 1853 kb/s
FPS..........: 23.976
Frame Size...: 688x512 (1.34:1) [~39:29]
------------------ Audio ------------------
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 121 kb/s (60/ch, stereo) VBR

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Relacionados

• The Experimental Image World of Shuji Terayama VHSRip
  
  Tomato Kecchappu Kôtei VHSRip

[Jacob]

Sabía cómo pasárselo bien el amigo Shuji. Muchas gracias, V.

[Dardo]

Hay ciertos hilos que entras, y es casi imposible que no te llame la atención, aunque la sensación sea la de un pulpo en un garaje pero estimula.

V muy ordenadito y muy atrayente, da gusto