Filmography

Main Works

 

Jun'ichi Okuyama's Filmography

 

 

 

 

Nothing

MU

1964 8mm 3min

 

 

Bang Voyage

1967 16mm 18min

 

 

Frameless 35

1968 35mm 3min

 

 

Cut-Off movie

1969 16mm 9min.

A film 9 minutes in length was cut in several places beforehand, those severed places covered with tree leaves and condoms and the like. When projected, naturally those places cause an interruption in projection, and the filmmaker himself explains why the accident occurred. This projection/ performance was first shown in 1969.

 

 

Zero-man co.,LTD

1969 16mm 7min

 

 

Being Painted

WAKKA

1970 35mm 15min

 

 

Yellow JAP

1970 16mm 2min

 

 

Outrage

Tegome

1971 16mm 3min

 

 

No Perforations

1971 16mm 10min

 

 

Frameless 16

1971 35mm+16mm 3min

 

 

Paper Film

Kami Eiga

1972 16mm 15min

 

 

Sightseeing Film

Kanko Eiga

1973 16mm 3min.

Although take of the filmmaker’s wife in memory of the occasion when they went sightseeing, he explains his failure as being due to over exposing the film to light. The filmmaker’s interest(who is sticking with the material of film), is of course the beauty taken from the light which appears when the film is exposed. But here no tangible image appears at all.

 

 

Le Cinema

Eiga

1975 16mm 5min

 

 

Human Flicker

Eiga Tanjyo

1975 16mmX2 4min

 

 

Swing Movie

1975 8mm 35min

 

 

Origin of motion Picture

Eiga no Genten

1978 35mm 4min

 

 

My Movie Melodies

Waga Eiga Senritsu

1980 16mm 6min.

Created through special techniques such as the use of the qualities of X-rays, the images seep onto even the soundtrack portion of the film, a device in which even the images themselves give off sound. An unique work weaving melodies through image techniques.

 

 

Movie Watching

1982 16mm 12min

 

 

Cinemassage

1985 16mm 10min

 

 

Bacchanalia for roading Films

Eiga Souten-no Ran

1985 16mmX2 30min

 

 

A Man Playing Movie

Eiga-suru Hito

1986-87 16mm 10min

 

 

Frames of Movie

Eiga no Frame

1988 16mm 7min

 

 

The Time Slit

1989 16mm 6min

 

 

At a same time,Expose the both sides

Omotekara Urakara Doujini

1990 16mm 6min

 

 

Spend my days in Movie

The Film Zanmai

1992 Video 8min30sec

 

 

A Sun-Picture Movie

Nikko-Shashin Katsudo-hen

1993 Video 7min

 

 

 Osmography

Shinto-ga

1994 16mm 9min

The film features the first experimental application of Okuyama’s new “Osmography Technique.” The inspiration for this breakthrough is rooted in traditional Japanese dyeing techniques, the methods of which have been creatively applied to film development.

Furthermore, the intriguing seeping pattern visible in the initial images, as if developing solution is flowing from the perforation holes due to the surface tension, is a unique phenomenon impossible to adequately describe in words.

This work is a revolutionary approach to experimental film, presenting a fantastic series of continuous images never witnessed before.

 

 

The Cross Projection

1994 35mmX1 16mmX3 8mmX3 SlideX2 Video 20min

 

 

STOP MOTION

1995 16mm 10min.

 

 

Touching the Inga

Inga no Sekai

1996 16mm 11min.

I made a negative print from the original negatives. As opposed to the usual purposes of film, this negative projection allows us to reconsider the various processes inherent in filmmaking..

Light is darkness. Darkness is light.. It appears, and then disappears, disappears and then appears. White is black and black Is white. I wanted the world in negative.

 

 

My self-timer

Toki No Nagare Ni Nosete

1997 16mm 7min.

What is time in film? In this film, I have used what I call “endless shooting” to accumulate time at the same time as accumulating images. With this technique, I articulate the difference between film time and screen time. In a standard production, many times the amount of screened film are shot, but in this work, I used “endless film.” I think you will be able to experience three-dimensionally the passage of other times and changes in time and space captured in the piece. This film is an experimental one where real time is condensed into integrated images.

 

 

Sandwiches

1998 16mm 6min.

I sandwiched transparent paper tape between two rolls of undeveloped film. I exposed it once and two images of what I had shot appeared. Using a camera I tried to make a paper sandwich using daylight as the toast. I permeated the anti-halation layer of the film and the paper tape and the power of visible light created the sandwich’s innards.

 

 

Swing Movie '98

1998 70mm 16mm 8mm Video

 

 

In The Light

Hikari no Nakade

1999 16mm 7min.

This film deals with the theme of light in film. The light and shadow projected onto film by light and sunlight. The image projected onto the screen by the projector. Staring into the core of light along with the state of color and light fixed on the film.

 

 

Cinema Installation

Okuyama Jun'ichi ten no kiroku

2000 Video 25min.

This work is a personal document of the Okuyama Jun’ichi Retrospective held at the Tokyo Metropolitan Museum of Photography in 1998.

The various penances in the endurance race between projector and film continued for days on a row. With this continuous installation as the core, this film urges us to the full picture of multi-talented filmmaker.

 

 

Sync Pic

2001 16mm 14min.

This work is about cinematic time on film. Using a remodeled 16mm camera, I filmed the sudare curtain which hangs on my window. To me, the curtain had begun to represent a musical scale. The remodeled camera allowed me to simultaneously expose images onto the picture and sound portions of the film. Thus, on the film, the image and the sound are one and in strict synchronization. However, when the film is projected, the image and sound lose synchronization because the part of the projector which reads the soundtrack is distanced from the part that projects the image. Yet, if compose the preceding sound as a phrase, the gat on the screen seems to be in strict synchronization. Consisting of three versions of original camera negative: the sketch version a print of the negative, and the original negative printed onto a positive, this is an experimental film that allows viewers experience a film in its totality.

 

 

Half DEV.

Migen Zone

2002 35mm 5min.

The buffer zone in which developer and fixer mix together is the elusive and protean ghost zone in which the image appears or does not appear. The upper part of the image in this work has been filmed so as to be the point of view (towards the horizon) when the film is bathed in the developer. This is an experimental film in which the filmmaker, searching for new cinematic expression, has entered even further into the developing process. (The trailer for the film will also be shown.)

 

 

The Deviation of the Movie Time

Eiga Jikan no Zure

2003 16mm 6min.

In a bag of pitch black darkness, two 16mm cameras having rendezvous. Their names are “Miss Beaulieux and Mr. Pathe”. A raw film “Kodak-chan” loading and penetrating through two cameras. The two cameras shoot in the same breath the one roll of film at the same time. But the distance of these two cameras creates the time gap of a film and at the same time become a 3-D film.

 

 

3D Gooooo!

Omega Hero Me

2004 16mm 11min.

This film is an experimental 3D film that provides three-dimensionality to the naked eye. Filming that a visibly three-dimensional object from alternating perspective, Okuyama combines actual 3-D photography with simulated 3-D work. You must first practice 3-D viewing by using stills to line up the black dots. The two dots at the top to be the background, and the bottom dots are to be viewed as the foreground.

 

 

DEV-18

Genzo-Shoho Dev-18

2005 Video 1０min.

I like puns, and I gave the Dev-18 film process the name “debu iya” (In Japanese this is both an abbreviation for “Dev-18” and a phrase with the meaning “fat is bad”). I’ve gotten quite fat, so I’ve applied this phrase to myself as well. I like projectors, film, and doing my own developing, and I wanted to see the developing chemicals on my shelf directly on film. The led me to create this work in which I apply these chemicals directly to 16mm film and project five layers simultaneously, forcing the thick wad of film through the narrow projector gate and focusing on each layer in turn.

 

 

Regular 8 is 16mm Film

W8 wa 16mm

2006 16mm 11min.

“I found an old can of 8mm film!” “It’s W8 (regular 8)” “I want to watch it!” “But the projector is broken, it won’t work” “I still want to watch it” “I’ve got it” “If you put two 8mm reels together that makes 16mm” “I can watch it on the 16mm projector!!!!”

An unbelievable experimental film that goes beyond the boundaries of format!!!!

 

 

Filmusica

2006 8mm+16mm 10min

 

 

Regular 8 is 16mm Film / LIVE

W8 wa 16mm / Live

2006 16mmX6 20min

 

 

Human Flicker Anime

Eiga Tanjyo Anime

2006 16mmX2 10min

 

 

The 8mm machine

8mm mishin

2007 Video 11min

 

 

The 8mm machine Live

8mm mishin Live

2007 6min

 

 

Human Flicker

1975/2007 16mmx2 + Video 7min

 

 

The INDEX

2007 Video 12min

 

 

Filmusica MIX

2007 8mm + Regular8mm + 16mm + Video 10min

 

 

Jun'ichi Okuyama's INDEX MOVIE

2008 Video 30min

 

 

MAZE LUNA

2008 16mm(original) 5min

 

 

The Video-Film/Live

2008 16mm(X2) & Video 15min

 

 

An emulsion painter

2009 16mm(original) 6min

 

 

Free Hands

2009 OHP 10min

 

 

The Remainder Images

2010 16mm(original) 8min