Transgressive short films DVD compilation emanating from the Void, from sexual atomisation and a Black eternally Blacker than Black. Printed at 500 copies.
猫耳 NEKO-MIMI
黒澤潤 / JUN KUROSAWA
(1994, 16㎜, b&w/color, 80 min)
fragment # for K.S
黒澤潤 / JUN KUROSAWA
(2019, HD-VIDEO, color, 3 min)
君と世界との戦いならば世界に支援せよ / In Case of a Battle between you and the World, Support the World
黒澤潤 / JUN KUROSAWA
(1985, single-8, color, 27 min)
LA DANCE MACRABRE
黒澤潤 / JUN KUROSAWA
(1989, single-8, color, 6:53 min)
hi ka ri
黒澤潤 / JUN KUROSAWA
(1988 ,super-8, color, 5;37 min)
wish you were summer
黒澤潤 / JUN KUROSAWA
(1988, single-8, color, 4:12 min)
水晶の舟は光の海を泳ぐ
黒澤潤 / JUN KUROSAWA
(1988, super-8, color, 2:12 min)
月の娘
浅野優子 / YUKO ASANO
(1983, 8mm, color, 4 min)
キオク
浅野優子 / YUKO ASANO
(1980, 8mm, color, 4’15 min)
水の音
浅野優子 / YUKO ASANO
(1980, 8mm, color, 3 min)
In dark trees
浅野優子 / YUKO ASANO
(1978, 8mm, color, 2’20 min)
班制作作品
浅野優子 / YUKO ASANO
(1978, 8mm, color, ? min)
水辺の植物
浅野優子 / YUKO ASANO
(1986, 16mm, color, 3 min)
螺旋迷宮 / Spiral labyrinth
浅野優子 / YUKO ASANO
(1982, 16mm, color, 2:30 min)
IN HEAVEN
黒澤潤 / JUN KUROSAWA
(1988, super-8, color, 7:08 min)
Parlez-moi d’amour（聞かせてよ愛の言葉を）
黒澤潤 / JUN KUROSAWA
(1989, single-8, color, 3:43 min)
天使論 第4章
黒澤潤 / JUN KUROSAWA
(1989, single-8⇒VHS tape, color, 10:00 min)
SURFACE
黒澤潤 / JUN KUROSAWA
(1989, super-8, color, 2:57 min)
COMPOSITION
黒澤潤 / JUN KUROSAWA
(1989, super-8, color, 2:28 min)
BYE-BYE
黒澤潤 / JUN KUROSAWA
(1988, super-8, color, 2:34 min)
安価なワイン・グラスを用いて光について考察するフィルム。
黒澤潤 / JUN KUROSAWA
(1989, super-8, color, 2:21 min)
SKY’S GONE OUT
黒澤潤 / JUN KUROSAWA
(1988, single-8, color, 3:15 min)
黒澤潤 / JUN KUROSAWA
(1989, 8mm, color, 3:23 min)
Un Ange Passe
黒澤潤 / JUN KUROSAWA
(1995, 16mm, color, 14 min)
核戦争でたった一人生き残った女性が、ヘッドギアを用いて他者との交信を試みる。やがて女は自らの妄想を他者からの交信と錯覚し、頭の中に架空の存在を創り上げて行く。
Un Ange Passe – the title means to famous french saying – is the science fiction about the girl who survived after the nuclear war at the end of 20th century. She tries to communicate with others by using future gadget, but she misunderstands the contacts from others as a delusion and making a imaginary character in her mind.
The Internet commercialization, the demand in cyber-punk, a number of magazine about digital media, the religious groups which have their own technology. In the late 1980s and through the 1990s of Japan, the longing for future world has recognized as cultural contents (or phenomenon). This work causes feelings about such a historical background.
now here
黒澤潤 / JUN KUROSAWA
(1988, single-8, color, 7:33 min)
多重撮影による画面の微妙なズレで、時間と空間のズレを誌的に表現している。タイトルは、今ここにいること（now here）と、どこにもいないこと（nowhere）の二つの意味を含んでいる。（『イメージ・フォーラム・フェスティバル1989』カタログより。作者自身による解説）
The experimental film about the schizoid man by using the double exposure. The title now here includes a double meaning, that is “now here” being here – and “nowhere” – not to be anywhere -. In this lyrical work, Jun Kurosawa analyzed himself schizophrenically.
片足の神様 / JESUS WITH ONE LEG
黒澤潤 / JUN KUROSAWA
(1994, 16mm, b&w + color, 11:32 min)
廃墟と思しき場所でフィルムによって手足を縛られた女性、天使に扮した女性がフィルムを焼き、轟音のノイズが鳴り響く。作者の代表作である『猫耳』のプロローグとも言える、傑作。1995年にニューヨークで開催されたEXPO短編映画祭で「最優秀実験映画賞」を受賞。
As Toshio Matsumoto practiced in his work ECSTASIS in the past, JESUS WITH ONE LEG can be said that the film was about the ecstasy, too.
The flesh as an inorganic substance, violent camerawork, film scratch, a roaring sound, and more. In this film, Jun Kurosawa captured not only the film but also the flesh as a material. The interplay of the footage which deprived of the meaningfulness and harsh-noise are arousing a cruel impulse that going to destroy them rather than fetish that including his previous works.
The audiences will experience the ritual or the liminality that the consecration image that projected and fixed on a screen reach a emptiness by cinematic iconoclasm. JESUS WITH ONE LEG is the metacinema by new photogénie, and a turning-point for the author. Two years after this work, Olivier Assayas Irma Vep was released.
pb
黒澤潤 / JUN KUROSAWA
(2003, dv, b&w, 2 min)
下北沢トリウッドの映画祭「ベリー・ベリー・ショート」の出品作品として制作された短編。その際の制作条件は「尺が2分」「日付が入る」「作品のどこかに必ず”サヨナラ”が入る」というものであった。
This nonsense short drama was created for the film festival “Very Very Short” at the Tollywood Theater in Shimokitazawa. At that time, the condition was (1) two minutes, (2) insert a date, and (3) within the film include the word of “Sa-yo-na-ra”
REQUIEM
黒澤潤 / JUN KUROSAWA
(1989, single-8, color, 13 min)
モーツァルトの「レクイエム」をバックに、日記的とも言える断片的なショットが走馬灯のように次々と画面に現れる。ジョナス・メカスの『WALDEN』を彷彿させる秀作。
The collage film about the daily life.
スピノザのレンズ / LENS OF SPINOZA
黒澤潤 / JUN KUROSAWA
(1989, super-8, color, 13 min)
日常風景を浮遊する金魚と流れる水の音、群れ泳ぐ切断されたフィルムの断片。カメラに捉えられた事物の映画的存在論を問う短編。
The experimental drama about the schizoid man who can see a gold fish in the sky.
東京天使病院 / TOKYO ANGEL HOSPITAL
黒澤潤 / JUN KUROSAWA
(1989, single-8, color, 13:59 min)
三浦雅子による詩「浅間山荘篭城中の刺青文字」が朗読される中、数々のフェティッシュな演出と、フリッカー効果がタナトスのイメージを誘発する。ある政治的な逸話からインスピレーションを受けて制作された、後期黒澤作品を代表する一本。
A poem on the woman body, the man who eats a rose, intense flicker, and other fetish images. Jun Kurosawa was inspired by a political anecdote and created this film. In the early 1970s, Asama-Sansō incident caused by the United Red Army. The group’s chairman led the horrific group killings of another 12 members who were said to be undergoing a process of “soukatsu” – general review, or self-criticism -.
Jun Kurosawa found out the death that the end of lust like a double suicide in there. The eros that rising with feelings towards death – thanatos -, and it is a kind of trance.
From the anecdote, Jun Kurosawa described the image that imagined from the interplay of eros and thanatos or the convulsive beauty.
悪趣味な私の一人称 / MONOLOGUE IN MY BAD TASTE
黒澤潤 / JUN KUROSAWA
(1988, super-8, color, 4:36 min)
無機質に鳴り響く、遊園地の音楽。メリーゴーランドや観覧車などの遊具がフィックスで捉えられる背後で、人々の囁く声が聞こえる。80年代後期に流行した「一人称映画」のアンチテーゼとして制作された、不気味な作品。
What came next after the Japanese “Nikki-eiga” ? In the late 1970s of Japan, a number of
the private film was produced – the extreme private, as Shirouyasu Suzuki called the type of
films firstly -. In the 1980s, those imitations were came into fashion between the woman
filmmakers, and those works without self-criticism stigmatized as “ monologue film ”. After
1980s, Jun Kurosawa, in this film, cast an irony for it.
The view of amusement park that shooting by the fixed camera changes into an
uncanny one by painting directly onto celluloid and a strange sounds. It is attempt to
approach the inner world through the common view by private eye of the author
himself.
