[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"tmdb:person\u002F1305145:{\"language\":\"en-US\",\"append_to_response\":\"combined_credits,images\"}":3},{"adult":4,"also_known_as":5,"biography":7,"birthday":8,"deathday":9,"gender":10,"homepage":11,"id":12,"imdb_id":13,"known_for_department":14,"name":15,"place_of_birth":16,"popularity":17,"profile_path":18,"combined_credits":19,"images":869},false,[6],"Iimura Takahiko","Takahiko Iimura has been a pioneer artist of Japanese experimental film and video, working with film since l960 and with video since 1970 while residing in New York and Tokyo. He is a widely established international artist, having numerous solo exhibitions in major museums such as the Museum of Modern Art, New York, the Whitney Museum, New York, Anthology Film Archives, New York, Centre George Pompidou, Paris, the National Gallery Jeu de Paume, Paris, Palais des Beaux-Arts, Brussels, Reina Sofia National Museum, Madrid, and the Tokyo Metropolitan Museum of Photography, Tokyo in addition to an artist residency at the German Academy of Arts, Berlin, and Bellagio Rockefeller Foundation Study Center, Bellagio, Italy.","1937-02-20",null,2,"http:\u002F\u002Fwww.takaiimura.com\u002F",1305145,"nm0407361","Directing","Takahiko Iimura","Tokyo, Japan",0.4984,"\u002FyOQilAdmhPQbSz6hUBDQr1E9dMO.jpg",{"cast":20,"crew":121},[21,34,43,55,66,81,91,100,111],{"adult":4,"backdrop_path":9,"genre_ids":22,"id":23,"title":24,"original_language":25,"original_title":24,"overview":26,"popularity":27,"poster_path":28,"release_date":29,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"character":31,"credit_id":32,"order":30,"media_type":33},[],1077474,"Un Ange Passe","ja","Experimental short by Keiji Aiuchi.",0.699,"\u002F1EzN37ql84NCoJfGA4bDETcAY0.jpg","2002-01-22",0,"","63cdb34c6d97e600add4ea86","movie",{"adult":4,"backdrop_path":9,"genre_ids":35,"id":36,"title":37,"original_language":25,"original_title":37,"overview":38,"popularity":39,"poster_path":40,"release_date":41,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"character":31,"credit_id":42,"order":30,"media_type":33},[],1131618,"Film Workshop In SANGENJAYA - Summer","8mm short by Kenji Onishi and Tohru Mabuchi.",0.8343,"\u002FbkVfKFdstGZLZGvRITimzt3FDQ2.jpg","2012-06-07","64712e2fbe2d490133a38fe6",{"adult":4,"backdrop_path":9,"genre_ids":44,"id":46,"title":47,"original_language":48,"original_title":47,"overview":49,"popularity":50,"poster_path":51,"release_date":52,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"character":31,"credit_id":53,"order":54,"media_type":33},[45],99,1146127,"Home Movies 1971-81","xx","Home movies shot on Super 8mm by W+B Hein over 10 years.",1.3923,"\u002F95USeVGGGiVd8b8I3525itz3Ta.jpg","1985-01-01","649e33f13e6f2b00e2ddb3c3",24,{"adult":4,"backdrop_path":9,"genre_ids":56,"id":57,"title":58,"original_language":25,"original_title":59,"overview":60,"popularity":61,"poster_path":62,"release_date":63,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"character":31,"credit_id":64,"order":65,"media_type":33},[45],829833,"Associations of Silverpencils","銀鉛画報会","This is a film about a medium approaching extinction, an 8mm documentary film about a vanishing 8mm cinema. Blending two genres, the science film and the personal film, and benefiting from the participation of multiple generations of cineastes, it is a reflection upon the original cinematic experience.",0.887,"\u002Fw9t49X8x1OiitjQu7othfDxhKEt.jpg","2011-01-01","638e47ddc2bcc6007f231c67",1,{"adult":4,"backdrop_path":67,"genre_ids":68,"id":69,"title":70,"original_language":71,"original_title":70,"overview":72,"popularity":73,"poster_path":74,"release_date":75,"softcore":4,"video":4,"vote_average":76,"vote_count":77,"character":78,"credit_id":79,"order":80,"media_type":33},"\u002Fw5kolt7395WeLvt4UlMdgKl6VKx.jpg",[45],295120,"Birth of a Nation","en","Jonas Mekas assembles 160 portraits, appearances, and fleeting sketches of underground and independent filmmakers captured between 1955 and 1996. Fast-paced and archival in spirit, the film celebrates the avant-garde as its own “nation of cinema,” a vital community existing outside the dominance of commercial film.",1.548,"\u002Fy5dmMIbRZ36wTxKlwZQ5dU3ko0N.jpg","1997-08-06",7,4,"Self","59d9b7a5925141251f0392ed",26,{"adult":4,"backdrop_path":9,"genre_ids":82,"id":83,"title":84,"original_language":71,"original_title":84,"overview":85,"popularity":86,"poster_path":87,"release_date":88,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"character":89,"credit_id":90,"order":77,"media_type":33},[],506919,"Filmmakers","Iimura creates a short self-portrait as well as brief portraits of five of his peers: Brakhage, Vanderbeek, Smith, Mekas and Warhol. In each portrait, Iimura attempts to copy the styles and traits of each artist (Vanderbeek's constantly moving camera; Mekas' experiments with film speed; Warhol's use of flashes of white against a black background), while briefly commenting on the images being shown. The film serves effectively as an introduction to the film styles of these artists.",1.2111,"\u002F7v7HQUW8KQrOMfdVgIvc5ipH7lG.jpg","1969-01-01","Himself","5a8f5ff3c3a3682dac005d2c",{"adult":4,"backdrop_path":9,"genre_ids":92,"id":93,"title":94,"original_language":71,"original_title":94,"overview":95,"popularity":96,"poster_path":97,"release_date":98,"softcore":4,"video":4,"vote_average":76,"vote_count":10,"character":31,"credit_id":99,"order":30,"media_type":33},[],283232,"Four Shadows","Four four-minute image sections and four four-minute sound sections are linked in all combinations of the sound sections with each of the image sections. This established affinities between each of the image sections to the others, and the sound sections to each other. The image sections are: surveyors measuring the land near my house as seen through an old window, a family of Siamang Gibbon apes in the Washington zoo, an industrial site, and a page turned from a book on Cézanne’s composition showing a diagram of his painting Mardi Gras, filmed against bright leaves. The sound sections are: a dramatic scene from Debussy’s opera “Pelléas et Mélisande”, a passage from William Wordworth’s autobiographical poem “The Prelude,” sounds from rowing on a lake at night, and the sounds of the apes vocalizing.",0.727,"\u002FhVhNaNW85zVOmoIBGlnp27a0w0x.jpg","1978-10-03","60ef65835aba32002c419244",{"adult":4,"backdrop_path":9,"genre_ids":101,"id":103,"title":104,"original_language":25,"original_title":105,"overview":106,"popularity":107,"poster_path":108,"release_date":109,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"character":31,"credit_id":110,"order":30,"media_type":33},[102],16,377903,"A I U E O NN Six Features","あいうえおん六面相","Experimental film involving letters.",1.0945,"\u002F2gCV22HafDPN6xpXNdxJzgzIYNT.jpg","1993-01-01","6100fe55cee481002dd73e18",{"adult":4,"backdrop_path":9,"genre_ids":112,"id":113,"title":114,"original_language":25,"original_title":115,"overview":116,"popularity":117,"poster_path":118,"release_date":119,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"character":31,"credit_id":120,"order":10,"media_type":33},[45],1465483,"KIKAIDE MIRUKOTO = Eye Machine \u002F To See by Chance –The Pioneers of Japanese Video Arts–","キカイデミルコト: 日本のビデオアートの先駆者たち","Video began as a medium that inspired discovery. This art documentary traces the expressive roots of “media art” in Japan — works of video, performances, and installations created using video technology that allowed for free and creative visual expression.",1.3993,"\u002FqRfG2yCyrbFPLltHSsCpAJUK4sh.jpg","2013-04-10","67ffb911b113ff8723d911ce",[122,131,139,147,154,157,166,173,181,189,200,208,217,226,236,244,254,262,273,281,289,297,306,314,319,328,333,342,351,354,357,360,363,371,380,390,398,407,414,423,431,440,448,457,469,472,475,484,492,500,509,518,526,535,543,551,558,566,574,581,590,598,606,615,623,631,639,647,657,664,672,680,687,695,704,713,719,725,733,736,739,747,755,763,770,777,784,791,797,803,812,817,822,831,834,837,845,853,861],{"adult":4,"backdrop_path":9,"genre_ids":123,"id":124,"title":125,"original_language":71,"original_title":125,"overview":126,"popularity":127,"poster_path":9,"release_date":128,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":129,"department":14,"job":130,"media_type":33},[],971515,"1 To 60 Seconds","\"In 1 to 60 Seconds Iimura does an extraordinary thing: he abstracts time from any concrete associations, seems to put it on the screen and there you sit looking at (or for) it, experiencing it. The film is all black leader except for the numbers 1 to 60 that appear individually in sequence to indicate t he amount of time in seconds that each of them followed one second letter by a number or numbers indicate the total amount of time that has thus far transpired. So at each juncture you know beforehand how much time awaits you be fore the next and how much is behind you, and then it's just you and the black screen. And thereafter many things happen: you attempt to experience, say, twenty one seconds so accurately you will be ready for the 22, or you become impatient and bored, or you just feel time, fell the ongoingness. The film's as varied as time (for you) is and can be.\" – Paul Poggiali, The Soho Weekly News, New York, May 9, 1974",0.6875,"1973-01-01","6272b6ce5800c40065f08dfc","Director",{"adult":4,"backdrop_path":9,"genre_ids":132,"id":133,"title":134,"original_language":25,"original_title":134,"overview":135,"popularity":136,"poster_path":9,"release_date":137,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":138,"department":14,"job":130,"media_type":33},[],1164747,"6x6 (Oukan Densentsu)","A boy and a girl in a small room, having a fight, making love and suddenly . . . a black humor on a young couple.—Takahiko Iimura, Paper Film: Love and Flowers, 1970.",0.6646,"1962-08-13","64d9a0953710970139456f0f",{"adult":4,"backdrop_path":9,"genre_ids":140,"id":141,"title":142,"original_language":71,"original_title":142,"overview":143,"popularity":144,"poster_path":9,"release_date":145,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":146,"department":14,"job":130,"media_type":33},[],1164751,"Sakasama (Upside Down)","Filmed turning the camera upside down, and without looking through the viewfinder, this experimental short features fragmented scenes of people, a girl, an amusement park, the beach, etc.",0.8658,"1963-08-13","64d9a1aebf31f201ce69c0f7",{"adult":4,"backdrop_path":9,"genre_ids":148,"id":149,"title":150,"original_language":71,"original_title":150,"overview":151,"popularity":152,"poster_path":9,"release_date":31,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":153,"department":14,"job":130,"media_type":33},[],1164753,"Ukiyo Ukare","UKIYO UKARE present details from the shunga, pornographic wood-block prints of Harunobu, Utamaro, and others",1.2142,"64d9a29ab77d4b00e25dda48",{"adult":4,"backdrop_path":9,"genre_ids":155,"id":57,"title":58,"original_language":25,"original_title":59,"overview":60,"popularity":61,"poster_path":62,"release_date":63,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":156,"department":14,"job":130,"media_type":33},[45],"64e2b29794631800c80919c8",{"adult":4,"backdrop_path":9,"genre_ids":158,"id":159,"title":160,"original_language":71,"original_title":160,"overview":161,"popularity":162,"poster_path":163,"release_date":164,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":165,"department":14,"job":130,"media_type":33},[],850463,"Desade","From the collector of Marquis de Sade in the early 1960s, still a 'dark age ' of erotic picture, even his novels were forbidden to publish in Tokyo, I burrowed the copies of the engraving taken from the 18th century edition of \"The story of Juliette\" and of \"The story of Justine.\" and rearranged along a story made from of the pictures not from the novels. An exercise out of the curiosity. It was the same year I made Ai (Love) in 1962 which consists of mostly extreme close-ups of love making. I have kept DeSade for many years in my closet without looking at it myself and have forgotten about it. By a chance I re-found the film 50 years later that there is something worth to see. (T.I, 2012)",1.2652,"\u002Fcl1MMZEPTOji7YWTtcDDqlEZ3iU.jpg","1963-01-01","60ee3d52abf8e200740c826e",{"adult":4,"backdrop_path":9,"genre_ids":167,"id":168,"title":169,"original_language":71,"original_title":169,"overview":170,"popularity":171,"poster_path":9,"release_date":128,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":172,"department":14,"job":130,"media_type":33},[],850967,"Plus and Minus","\"Of the new foreign work I saw, (at the Avantgarde Film Festival in London) that of Taka Iimura interested me most – His film + & -, using scratched signs, displayed how perception can be molded by the concept. By postulating negative duration – a length of black, say six seconds, minus a length of white, say three seconds, equals a length of black three seconds – the gradually emerging experience of 'backward running duration, through a long series of these visual sums, was very surprising.\" Malcolm Le Grice, Studio International, Nov. 1973",0.6979,"60f08b62e55937002a503e13",{"adult":4,"backdrop_path":9,"genre_ids":174,"id":175,"title":176,"original_language":25,"original_title":176,"overview":177,"popularity":178,"poster_path":9,"release_date":179,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":180,"department":14,"job":130,"media_type":33},[],850965,"Models: B-4: Seeing, Not Seeing","Short work.",0.7629,"1972-01-01","60f08a4f0f21c600468ab1ae",{"adult":4,"backdrop_path":9,"genre_ids":182,"id":183,"title":184,"original_language":25,"original_title":184,"overview":185,"popularity":186,"poster_path":9,"release_date":187,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":188,"department":14,"job":130,"media_type":33},[],261556,"Camera, Monitor, Frame","Camera, Monitor, Frame is the first installment of Takahiko Iimura's \"Video Semiotics Triptych\" (the other two works are Observer\u002FObserved, made in 1975, and Observer\u002FObserved\u002FObserver, made in 1976). The work analyzes the fundamental components of video: the camera, the monitor, and the frame, focusing on the role of each within a system of video as analogous to the functions of vision and speech.",0.773,"1976-03-27","5334859b92514144510023e6",{"adult":4,"backdrop_path":9,"genre_ids":190,"id":191,"title":192,"original_language":25,"original_title":193,"overview":194,"popularity":195,"poster_path":196,"release_date":197,"softcore":4,"video":4,"vote_average":198,"vote_count":10,"credit_id":199,"department":14,"job":130,"media_type":33},[],264367,"Love","愛","\"10 minutes of the act of creation itself run through close up and magnifying lenses. \" -T.I.",1.206,"\u002F6Rxrez9ckdx52AXcT7xpMBZo964.jpg","1962-01-01",8,"5349b04c0e0a2640bc000591",{"adult":4,"backdrop_path":9,"genre_ids":201,"id":202,"title":203,"original_language":25,"original_title":203,"overview":204,"popularity":205,"poster_path":9,"release_date":206,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":207,"department":14,"job":130,"media_type":33},[],274948,"White Calligraphy","White Calligraphy is an abstract short made by scratching characters from 'Kojiki', an early Japanese text, into the frames of 16mm black leader.",1.2558,"1967-01-01","5393f5e50e0a266dce0034ea",{"adult":4,"backdrop_path":9,"genre_ids":209,"id":210,"title":211,"original_language":25,"original_title":212,"overview":213,"popularity":214,"poster_path":215,"release_date":197,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":216,"department":14,"job":130,"media_type":33},[],281108,"Junk","Kuzu","\"It's a mixture of [dead] animals, pieces of [broken] furniture, industrial waste, kids playing. I didn't have in mind any of the kind of historical perspective, nor was I trying to make an ecological statement. I was showing the new landscape of our civilization. My point of view was animistic. I tried to revive those dead animals metaphorically and to give the junk new life.\"",1.2224,"\u002FtSZHd7UmpE0wl6PchcAyO6jSVco.jpg","53be76330e0a261589003fc8",{"adult":4,"backdrop_path":9,"genre_ids":218,"id":219,"title":220,"original_language":25,"original_title":221,"overview":222,"popularity":223,"poster_path":224,"release_date":197,"softcore":4,"video":4,"vote_average":65,"vote_count":65,"credit_id":225,"department":14,"job":130,"media_type":33},[],281110,"On Eye Rape","視姦について","\"The original film was rescued from a Tokyo trash bin. It is an American sexual education film in which plant and animal sex are explained. I, together with an artist friend, Natsuyuki Nakanishi, punched big holes in almost all of the frames. It was a protest against Japanese censorship of explicit images of sex, particularly pubic hair which the censors would cover with black marks. I inserted a few subliminal frames of pornographic imagery from magazines several times throughout the film. At the end, I even punched holes in these subliminal pictures, thereby 'censoring' the censored image.\" — Takahiko Iimura",0.8783,"\u002FvbZiy2cSqEAhrpMiRQ38kZmQvPo.jpg","53be78380e0a26157c003d26",{"adult":4,"backdrop_path":9,"genre_ids":227,"id":228,"title":229,"original_language":25,"original_title":230,"overview":231,"popularity":232,"poster_path":233,"release_date":234,"softcore":4,"video":4,"vote_average":10,"vote_count":10,"credit_id":235,"department":14,"job":130,"media_type":33},[],281107,"A Dance Party in the Kingdom of Lilliput","リリパット王国舞踏会","A super-real comedy with Sho Kazakura. The film is divided in to a number of very short scenes or chapters, each with a title \"A,B,C\" at random. we see him lame in a crowd, see him running up stairs, see him absolutely naked, watch him urinate, etc. An anthology of discontinuous happenings and events.",0.7723,"\u002Fa1ujaVgZZFzoHP0dr5vnf1OzRup.jpg","1964-01-01","53be755c0e0a261589003fb3",{"adult":4,"backdrop_path":9,"genre_ids":237,"id":238,"title":239,"original_language":71,"original_title":239,"overview":240,"popularity":241,"poster_path":242,"release_date":52,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":243,"department":14,"job":130,"media_type":33},[],294140,"John Cage Performs James Joyce","A voice performance by John Cage who \"reads\", \"vocalizes\" and \"whispers\" in three different manners his artificial language taken from \"Finnegens Wake\" by James Joyce. Cage freely composed the letters according to a chance operation using the I-Ching.",0.679,"\u002F7RSsntn8TMRr9Br9CNCfFFJoxo0.jpg","541fb78c0e0a26179400157a",{"adult":4,"backdrop_path":9,"genre_ids":245,"id":246,"title":247,"original_language":25,"original_title":247,"overview":248,"popularity":249,"poster_path":250,"release_date":251,"softcore":4,"video":4,"vote_average":252,"vote_count":65,"credit_id":253,"department":14,"job":130,"media_type":33},[45],308941,"Rose Color Dance","A document of Tatsumi Hijikata's Butoh dance with Kazuo Ohno as the guest dancer shot in Hijikata's early period when he was emerging as the originator of Butoh. All of the male dancers are dressed up with evening suits and move gracefully, yet an intruder breaks up the whole scene abruptly. The film is worth seeing, even if just to see a memorable gay duet of Hijikata and Ohno. Overexposed, washed out images are sandwiched among normal ones.",0.7858,"\u002FtPgS1T60T0xMmjm01jwCtdXt344.jpg","1965-03-01",10,"5484d64ac3a3680b43000cbb",{"adult":4,"backdrop_path":9,"genre_ids":255,"id":256,"title":257,"original_language":71,"original_title":257,"overview":258,"popularity":259,"poster_path":9,"release_date":260,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":261,"department":14,"job":130,"media_type":33},[],1014329,"Talking in New York","A kind of first person cinema where the filmmaker is the cameraman as well as the actor. Acting like a total stranger in the city who does not speak or hear the language, he walks with a camera to such sight-seeing spots as Times Square,and the top of the Empire State building, etc., only listening to himself speaking the words: \"I hear myself at the same time that I speak\" in two languages: Japanese and English. The words are a quotation from the book by Jacques Derrida, French philosopher, which he calls \"phenomenological essence.\"",0.7662,"1981-01-01","62ff1a7e635013007bbcabac",{"adult":4,"backdrop_path":9,"genre_ids":263,"id":265,"title":266,"original_language":25,"original_title":266,"overview":267,"popularity":268,"poster_path":269,"release_date":270,"softcore":4,"video":4,"vote_average":271,"vote_count":10,"credit_id":272,"department":14,"job":130,"media_type":33},[264],14,338497,"Onan","“ONAN is a work about desire (masturbation) which has no object but itself. The appearance of the large egg objectifies the man's desires. After colliding with the other (a girl), the hero falls down while still holding the egg, thus caricaturing the desire of the hero.” —Takahiko Iimura (takaiimura.com)",0.9809,"\u002F9Az643WPyisizMxek2hqFxAoc65.jpg","1963-12-28",9,"554652539251411889000042",{"adult":4,"backdrop_path":9,"genre_ids":274,"id":275,"title":276,"original_language":71,"original_title":276,"overview":277,"popularity":278,"poster_path":9,"release_date":279,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":280,"department":14,"job":130,"media_type":33},[],1214714,"Talking Picture (The Structure of Film Viewing)","Consisting of four parts: Between the Frames; Seeing Nothing; The Privilege to See; I Am A Viewer \u002F You Are A Viewer. The film demonstrates and discusses the structure of film viewing as an institution: playing\u002Ftalking myself in the double role of the viewer and the maker at the same time sitting in front of an empty screen and a camera which shoots at my back. It is also a provocative essay on the role of film audience. (Takahiko Iimura)",0.7646,"1981-12-07","65715550d363e5011fb5ac38",{"adult":4,"backdrop_path":9,"genre_ids":282,"id":283,"title":284,"original_language":71,"original_title":284,"overview":285,"popularity":286,"poster_path":9,"release_date":287,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":288,"department":14,"job":130,"media_type":33},[],1214711,"Why Don't You Sneeze","labeled in the CCJ as \"Why Not Sneeze?\", this film has been described as blatantly inspired by Marcel Duchamp’s ANEMIC CINEMA.",0.7967,"1966-12-07","6571527d90fca300eb9c5b17",{"adult":4,"backdrop_path":9,"genre_ids":290,"id":291,"title":292,"original_language":71,"original_title":292,"overview":293,"popularity":294,"poster_path":9,"release_date":295,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":296,"department":14,"job":130,"media_type":33},[],1214712,"Shelter 9999","In the context of the Cold War, use of the word “shelter” was common. However, it surprised Iimura when he started to live in New York in the 1960s. His work Shelter 9999 embodied the idea of a shelter of the future. Iimura captured scratched letters and abstract lines on black film. Letters were not legible at the speed 24 letters per second that corresponded to the sequence of 24 frames per second. Experimental musician and music professor Alvin Lucier was in charge of sound. Together they performed the collaborative work at a disco club in East Village.",1.1709,"1967-12-07","657153867eb5f2014fea5650",{"adult":4,"backdrop_path":9,"genre_ids":298,"id":299,"title":300,"original_language":25,"original_title":300,"overview":301,"popularity":302,"poster_path":303,"release_date":304,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":305,"department":14,"job":130,"media_type":33},[],360813,"Air's Rock","A portmanteau of two films about Uluru (then known as Ayres Rock).  \"A huge isolated rock in the midst of desert in Australia: Ayers Rock. I produced two films around this rock; however, the method of the filming are different. The first, \"Moments At The Rock,\" shot with an amateur video camera, was made as a free style improvisational film. The camera got strange halations from the strong sunshine in the desert of Australia, and I was quite surprised by the result which surpassed the color change caused by nature over the rock. This film was awarded Grand Prize at the Edison International Film Festival.  In \"A Rock In The Light\", I requested the music of Haruyuki Suzuki, a contemporary composer. This music is unified with the image, which is visually structured, setting the rock at the center, along the axis of light. For the new DVD version, I titled \"Air's Rock\" - Takahiko Iimura",0.7291,"\u002FnUKaDw2B5LiPcSbh1JQkoAvRA0d.jpg","1985-06-01","56001aed92514152b10061e9",{"adult":4,"backdrop_path":9,"genre_ids":307,"id":308,"title":309,"original_language":71,"original_title":309,"overview":310,"popularity":311,"poster_path":9,"release_date":312,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":313,"department":14,"job":130,"media_type":33},[],1044479,"Japanese Erotica: Five Films on Love and Sex from the Japanese Underground of the Experimental Cinema","A program of five films on love and sex from the Japanese underground of the experimental cinema, assembled by avant-garde cineaste Takahiko Iimura, and shown at the American Cinematheque from January 19 to 25, 1967.",0.9379,"1967-01-19","6365c2f8021cee007da04def",{"adult":4,"backdrop_path":9,"genre_ids":315,"id":265,"title":266,"original_language":25,"original_title":266,"overview":267,"popularity":268,"poster_path":269,"release_date":270,"softcore":4,"video":4,"vote_average":271,"vote_count":10,"credit_id":316,"department":317,"job":318,"media_type":33},[264],"568e915c9251416b4e002f02","Crew","Cinematography",{"adult":4,"backdrop_path":9,"genre_ids":320,"id":321,"title":322,"original_language":25,"original_title":322,"overview":323,"popularity":324,"poster_path":325,"release_date":326,"softcore":4,"video":4,"vote_average":198,"vote_count":65,"credit_id":327,"department":14,"job":130,"media_type":33},[],377899,"Observer \u002F Observed","Cameras observing each other.",1.3287,"\u002F79vdfo548akFNuVfrcuWqQABj8y.jpg","1975-01-01","569b76f59251410cc4002822",{"adult":4,"backdrop_path":9,"genre_ids":329,"id":103,"title":104,"original_language":25,"original_title":105,"overview":106,"popularity":107,"poster_path":108,"release_date":109,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":330,"department":331,"job":332,"media_type":33},[102],"569b78e89251410cd60028ac","Writing","Writer",{"adult":4,"backdrop_path":9,"genre_ids":334,"id":335,"title":336,"original_language":25,"original_title":336,"overview":337,"popularity":338,"poster_path":339,"release_date":340,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":341,"department":331,"job":332,"media_type":33},[],377901,"Observer \u002F Observed \u002F Observer","Cameras once again observing each other.",0.7044,"\u002F602xqZOhWDYSKhcHUYMVZ17nd6z.jpg","1976-01-01","569b77829251410cd900292e",{"adult":4,"backdrop_path":9,"genre_ids":343,"id":344,"title":345,"original_language":25,"original_title":345,"overview":346,"popularity":347,"poster_path":348,"release_date":349,"softcore":4,"video":4,"vote_average":271,"vote_count":65,"credit_id":350,"department":14,"job":130,"media_type":33},[],377902,"MA: Space\u002FTime in the Garden of Ryoan-ji","The early sixteenth-century Japanese garden in the Zen temple of Ryoan-ji, in Kyoto, is considered a masterpiece of the karesansui or \"dry landscape\" style... In this film, the viewer is invited to experience the garden as an embodiment of ma, a Japanese concept that conveys both time and space... The aesthetic of the film is the message, it has the quality of an experimental film, a conceptual film-an artwork in itself. Good balance of music\u002Fvisuals\u002Ftitles. If not as compelling for some viewers as for others, still rated as very effective. Makes one want to visit the actual garden and experience its spiritual energy. – Art on Screen",0.9981,"\u002Fz40dBlNQbD9jOCGOzstEzknmlsa.jpg","1989-01-01","569b7854c3a36872cb002918",{"adult":4,"backdrop_path":9,"genre_ids":352,"id":344,"title":345,"original_language":25,"original_title":345,"overview":346,"popularity":347,"poster_path":348,"release_date":349,"softcore":4,"video":4,"vote_average":271,"vote_count":65,"credit_id":353,"department":331,"job":332,"media_type":33},[],"569b784a9251410cd6002897",{"adult":4,"backdrop_path":9,"genre_ids":355,"id":321,"title":322,"original_language":25,"original_title":322,"overview":323,"popularity":324,"poster_path":325,"release_date":326,"softcore":4,"video":4,"vote_average":198,"vote_count":65,"credit_id":356,"department":331,"job":332,"media_type":33},[],"569b76ff9251410cd900291e",{"adult":4,"backdrop_path":9,"genre_ids":358,"id":103,"title":104,"original_language":25,"original_title":105,"overview":106,"popularity":107,"poster_path":108,"release_date":109,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":359,"department":14,"job":130,"media_type":33},[102],"569b78df9251410cd9002973",{"adult":4,"backdrop_path":9,"genre_ids":361,"id":335,"title":336,"original_language":25,"original_title":336,"overview":337,"popularity":338,"poster_path":339,"release_date":340,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":362,"department":14,"job":130,"media_type":33},[],"569b77799251410cd900292b",{"adult":4,"backdrop_path":9,"genre_ids":364,"id":365,"title":366,"original_language":25,"original_title":366,"overview":367,"popularity":368,"poster_path":9,"release_date":369,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":370,"department":14,"job":130,"media_type":33},[],382427,"I am (Not) Seen","This video deals with the perception of seeing including the words as I see you, I am seen, and I am not seen. These words are superimposed over the pictures of a face, eyes, and a face in the frame. The video changes in quite rapid motion framewise with the occasional stills inserted.",0.8023,"2003-06-06","56be623c92514140a6002bf9",{"adult":4,"backdrop_path":9,"genre_ids":372,"id":373,"title":374,"original_language":25,"original_title":374,"overview":375,"popularity":376,"poster_path":377,"release_date":378,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":379,"department":14,"job":130,"media_type":33},[],387790,"Shutter","'What I am concerned with in this film is not only the flicker effect, but also the coming and going of an eye-like shape on screen which was created by a fade-in-out device while shooting the light\u002Fthe bulb of the projector. The viewer literally looks into the light which acts like an eye.'(T.I.)",1.1357,"\u002F9rFfK1pZvV2hgFsQ6TJrswM48IX.jpg","1971-01-01","56e7d3d59251410a3a00078c",{"adult":4,"backdrop_path":9,"genre_ids":381,"id":382,"title":383,"original_language":25,"original_title":384,"overview":385,"popularity":386,"poster_path":387,"release_date":388,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":389,"department":14,"job":130,"media_type":33},[45],432820,"The Masseurs","按摩","Anma (The Masseurs) is a representative and historical work by the creator of Butoh dance, Tatsumi Hijikata in his early period in the 1960s. The film is realized not only as a dance document but also as a Cine-Dance, a term made by Iimura, that is meant to be a choreography of film. The filmmaker \"performed\" with a camera on the stage in front of the audience. With the main performers: Tatsumi Hijikata and Kazuo Ohno, the film has the highlights such as Butohs of a soldier by Hijikata & a mad woman by Ohno. There is a story of the mad woman, first outcast and ignored, at the end joins to the community through her dance. Inserted descriptions of Anma (The Masseurs) are made for the film by the filmmaker, but were not in the original Butoh. The film, the only document taken of the performance, must be seen for the understanding of Hijikata Butoh and the foundation of Butoh.",1.0171,"\u002F3E6xrTPfHYsYQdIT0WStQMSKZMI.jpg","1963-12-31","586a890e925141212d0005d5",{"adult":4,"backdrop_path":9,"genre_ids":391,"id":392,"title":393,"original_language":25,"original_title":393,"overview":394,"popularity":395,"poster_path":396,"release_date":378,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":397,"department":14,"job":130,"media_type":33},[],450026,"Man and Woman","MAN AND WOMAN shows full body shots of a naked man and woman shot from above without movement. They are shown alone as well as together, one over (or under) the other symbolizing in words at the same time, their positions",0.678,"\u002Fb9Hx6l9zmRQSVndkKNKaSq7meMg.jpg","58df42bac3a3683d1e004862",{"adult":4,"backdrop_path":9,"genre_ids":399,"id":400,"title":401,"original_language":71,"original_title":401,"overview":402,"popularity":403,"poster_path":404,"release_date":405,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":406,"department":14,"job":130,"media_type":33},[45],1094188,"Time Tunnel: Takahiko Iimura at Kino Arsenal, 18. April 1973","In 1973 the Kino Arsenal – then in its Welserstraße location in Berlin-Schöneberg – showed a programme of videos by the Japanese artist Takahiko Iimura. At the time, it was not yet possible to project the video images on the screen at the Arsenal, so employees brought in their own televisions from home, which were then synchronised to facilitate a collective experience of the then novel medium.",0.6469,"\u002F19q575qW6UAHmfNNqeVAS9yiAmU.jpg","2023-02-15","6400ee0d7a4ee700aaada7f2",{"adult":4,"backdrop_path":9,"genre_ids":408,"id":409,"title":410,"original_language":71,"original_title":410,"overview":411,"popularity":412,"poster_path":9,"release_date":349,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":413,"department":14,"job":130,"media_type":33},[],1273279,"New York Day and Night: A Journey through Light and Darkness","A journey through light and darkness reflected on the city of New York.",0.827,"661827d6a06efe00e52d99e7",{"adult":4,"backdrop_path":9,"genre_ids":415,"id":416,"title":417,"original_language":25,"original_title":417,"overview":418,"popularity":419,"poster_path":420,"release_date":421,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":422,"department":14,"job":130,"media_type":33},[],487017,"A Chair","One of Takahiko Iimura's (and modern art's) earliest works in conceptual video, A Chair entirely consists of a steady (and usually ghosted) image of a chair to the accompaniment of the firecracker pops of television static. While formally minimal, A Chair is conceptually challenging in its simplicity and its demand that the audience zero in on, of all things, a simple chair. - Tom Fritsche",1.0069,"\u002FsZb5wsZuGZG7JE1y0meNyHI6deH.jpg","1970-01-01","5a0a44d4c3a36820c100d386",{"adult":4,"backdrop_path":9,"genre_ids":424,"id":425,"title":426,"original_language":25,"original_title":426,"overview":427,"popularity":428,"poster_path":429,"release_date":421,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":430,"department":14,"job":130,"media_type":33},[],489058,"Blinking","One of the earliest minimalist video with flicker effects was produced in Tokyo in early 1970s. A flickering video with eyes, which super-impose the positive over the negative, open and close rapidly. At the same time the \"blind\" effects of video fast-forwarding accelerates\u002Fdecelerates the picture synchronized with the sound.",0.9976,"\u002F2t5VHuhopPYJh1mvfCYCNm4CFn7.jpg","5a1a069dc3a3680b8f032cbe",{"adult":4,"backdrop_path":9,"genre_ids":432,"id":433,"title":434,"original_language":25,"original_title":434,"overview":435,"popularity":436,"poster_path":437,"release_date":438,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":439,"department":14,"job":130,"media_type":33},[],488057,"Visual Logic (and Illogic)","Demonstrates the visual logic (and illogic) of sign combining with limited movements of camera for panning and zooming.",0.7861,"\u002FA4eSwERi8Hls38Z39MX2k0gAzVP.jpg","1977-01-01","5a1216a592514138f305e8e8",{"adult":4,"backdrop_path":9,"genre_ids":441,"id":442,"title":443,"original_language":25,"original_title":443,"overview":444,"popularity":445,"poster_path":446,"release_date":378,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":447,"department":14,"job":130,"media_type":33},[],490699,"Time Tunnel","An attempt at time travel in a very conceptual sense.",1.1444,"\u002FqV7Fi6CX4VbtYjqAYZqxVPebToP.jpg","5a24c62b0e0a264cca0d13bb",{"adult":4,"backdrop_path":9,"genre_ids":449,"id":450,"title":451,"original_language":25,"original_title":451,"overview":452,"popularity":453,"poster_path":454,"release_date":455,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":456,"department":14,"job":130,"media_type":33},[],491767,"Timed 1, 2, 3","Visually, each section of the film is composed of 10-second spans of clear and dark leader, arranged in a progressive fashion so that at first there is more and more light and less darkness, then vice versa.",0.6385,"\u002FoNF4OTUIxpJpx7cKx5lCG3KNpWx.jpg","1972-12-09","5a2c4c4e0e0a264cbe13c968",{"adult":4,"backdrop_path":9,"genre_ids":458,"id":459,"title":460,"original_language":71,"original_title":460,"overview":461,"popularity":462,"poster_path":463,"release_date":464,"softcore":4,"video":4,"vote_average":465,"vote_count":65,"credit_id":466,"department":467,"job":468,"media_type":33},[45],1119887,"Yoko Ono: This Is Not Here","On John's 31st birthday, Yoko held an art exhibit, \"This Is Not Here\", at the Everson Museum of Art in Syracuse, N.Y.. The show was taped and aired on U.S. TV on May 11, 1972 as \"John and Yoko in Syracuse, New York.",1.2713,"\u002Fc1dq7fUFIikucENlarJer4pMRHu.jpg","1972-05-11",6,"644e203bd4d50916ebf93db5","Production","Producer",{"adult":4,"backdrop_path":9,"genre_ids":470,"id":459,"title":460,"original_language":71,"original_title":460,"overview":461,"popularity":462,"poster_path":463,"release_date":464,"softcore":4,"video":4,"vote_average":465,"vote_count":65,"credit_id":471,"department":14,"job":130,"media_type":33},[45],"644e202ce22d280324c17092",{"adult":4,"backdrop_path":9,"genre_ids":473,"id":83,"title":84,"original_language":71,"original_title":84,"overview":85,"popularity":86,"poster_path":87,"release_date":88,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":474,"department":14,"job":130,"media_type":33},[],"5a8f5fffc3a3682da9005d27",{"adult":4,"backdrop_path":9,"genre_ids":476,"id":477,"title":478,"original_language":71,"original_title":478,"overview":479,"popularity":480,"poster_path":481,"release_date":482,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":483,"department":14,"job":130,"media_type":33},[],506915,"Face","The three faces (two women and one tranvestized man) in the series of close up, which are shot separately in their sexual process of the acting and the real, are intercut and edited making into a film. The sound is the voice of continuous laughing of a woman repeated from a loop-tape. What I try to realize in this film is the question of gender through the facial expression in sex between woman and tranvestized man, and the image in detail between the ac ting and the real life. When these factors are mixed, one can hardly distinguish one from the other.",0.6604,"\u002FiuWakLeqA34iAftCOyXCk7cJ9kz.jpg","1969-04-10","5a8f5db20e0a26399b005ac2",{"adult":4,"backdrop_path":9,"genre_ids":485,"id":486,"title":487,"original_language":25,"original_title":487,"overview":488,"popularity":489,"poster_path":490,"release_date":349,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":491,"department":14,"job":130,"media_type":33},[],545114,"The Making of MA in Ryoan-ji","\"The Making...\" showed not only the process of film-making, but also the creation of \"MA\" as a work.",0.9181,"\u002F9LQwpbO1DzW2M2oqP5X2KYDBk4y.jpg","5b858f9692514159ea053cb7",{"adult":4,"backdrop_path":9,"genre_ids":493,"id":494,"title":495,"original_language":25,"original_title":495,"overview":496,"popularity":497,"poster_path":498,"release_date":438,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":499,"department":14,"job":130,"media_type":33},[],545118,"MA (Intervals)","In the general classification, this was a complete abstract film and a kind of experimental movie as well, only black film, which blocks light, and clear film, which is totally transparent, were used as the basic materials.",1.1555,"\u002FIuObNQ1E6pBGs57XzelVPoMkSU.jpg","5b85939692514159e0054728",{"adult":4,"backdrop_path":9,"genre_ids":501,"id":502,"title":503,"original_language":71,"original_title":503,"overview":504,"popularity":505,"poster_path":506,"release_date":507,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":508,"department":14,"job":130,"media_type":33},[],545117,"Ma: The Stones Haved Moved","An animation film in which the outline of the image of a stone garden was traced on computer. As the result while the camera-crews moved in film-making, the stone, the drawn line moved in animation.",0.7315,"\u002FaQY5vcqv9Wn7YqGxDUDUsYJXwmy.jpg","2004-09-24","5b85922792514159e00544af",{"adult":4,"backdrop_path":9,"genre_ids":510,"id":511,"title":512,"original_language":25,"original_title":512,"overview":513,"popularity":514,"poster_path":515,"release_date":516,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":517,"department":14,"job":130,"media_type":33},[],545123,"I Love You","“Double Portrait” and “I Love You” are a paired piece with Akiko Iimura. Both Iimuras play individually as well as a unit. In “Double Portrait” they are never together, but one by one in three points of view, front, side, and back, assigned to the words “I”, “You” and “He\u002FShe” respectively. The pronouns rotate with every repetition, for instance, in front view with “You”, then “He\u002FShe” and back to “I”. Often the words are destroyed acoustically making them unintelligible. “I Love You” is not a style of confession, but the words, and a linguistic practice using a sentence and shifting the pronouns.",0.756,"\u002Fjqh6k6CyPp3SWDjrf0l5TG6MV6R.jpg","1987-01-01","5b859c68c3a368655b05a2ba",{"adult":4,"backdrop_path":9,"genre_ids":519,"id":520,"title":521,"original_language":25,"original_title":521,"overview":522,"popularity":523,"poster_path":524,"release_date":516,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":525,"department":14,"job":130,"media_type":33},[],545121,"Double Portrait","\"Double Portrait\" and \"I Love You\" are a paired piece with Akiko Iimura. Both Iimuras play individually as well as a unit. In \"Double Portrait\" they are never together, but one by one in three points of view, front, side, and back, assigned to the words \"I\", \"You\" and \"He\u002FShe\" respectively. The pronouns rotate with every repetition, for instance, in front view with \"You\", then \"He\u002FShe\" and back to \"I\". Often the words are destroyed acoustically making them unintelligible. \"I Love You\" is not a style of confession, but the words, and a linguistic  practice using a sentence and shifting the pronouns.",1.2113,"\u002FnnYjqHAxbKslY0hOPOxzeEirZ9u.jpg","5b8598a892514159e70560ce",{"adult":4,"backdrop_path":9,"genre_ids":527,"id":528,"title":529,"original_language":71,"original_title":529,"overview":530,"popularity":531,"poster_path":532,"release_date":533,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":534,"department":14,"job":130,"media_type":33},[],491679,"24 Frames per Second","This film, and in particular the function of sound within it will vary freely from moment to moment, viewer to viewer.",0.6535,"\u002FwHCF380Zwpol0tu4vuDBIgeBN30.jpg","1975-12-09","5b85959492514159e7055aba",{"adult":4,"backdrop_path":9,"genre_ids":536,"id":537,"title":538,"original_language":25,"original_title":538,"overview":539,"popularity":540,"poster_path":541,"release_date":438,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":542,"department":14,"job":130,"media_type":33},[],545119,"One Frame Duration","The films concerns the \"duration\" (or non-duration) of one frame, as the title indicates, the minimum unit of film in space (dark and light) with sound (or silent) and their various combinations.",0.7078,"\u002Fv6zmx25rA8wjXL5sC6xxBxaFjtE.jpg","5b85969e92514159d705591e",{"adult":4,"backdrop_path":9,"genre_ids":544,"id":545,"title":546,"original_language":71,"original_title":546,"overview":547,"popularity":548,"poster_path":549,"release_date":421,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":550,"department":14,"job":130,"media_type":33},[],545323,"Film Strips II","When I came to the USA in the mid 1960s, it was the high point of the Hippie movement and the black riots. I lived in the East village in New York, which was a center of the former, and watched TV news of the latter often. These two films, Film Strips I and II, were taken from the scenes respectively, not as a documentary but as an inner report of mine, abstracted yet chaotic. (T.I.)",0.7437,"\u002FlvC13VxFlWdk2tk4fVo92547eXE.jpg","5b86d8fe0e0a26110b011ca0",{"adult":4,"backdrop_path":9,"genre_ids":552,"id":553,"title":554,"original_language":25,"original_title":554,"overview":555,"popularity":386,"poster_path":556,"release_date":197,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":557,"department":14,"job":130,"media_type":33},[],545329,"Dada 62","Yomiuri Independent was an annual show between 1949-1963 that exhibited all art that was submitted. Artists in the early 60s began to take advantage of the challenge by provoking the organisers with their submissions that cast a question on the framework of art within the gallery space. The objet d'art and performances we see in Dada 62 are fragments of what was shown in its 1962 version with pieces by Genpei Akasegawa, Jiro Takamatsu and Shinmei Kojima making an appearance. (Julian Ross)","\u002F8eTImmUkSNexuxgIxf4G1wdeyDc.jpg","5b86dc559251414a0600eef8",{"adult":4,"backdrop_path":9,"genre_ids":559,"id":560,"title":561,"original_language":25,"original_title":561,"overview":562,"popularity":563,"poster_path":564,"release_date":260,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":565,"department":14,"job":130,"media_type":33},[],545315,"I Am A Viewer You Are A Viewer","In \"I Am A Viewer, You Are A Viewer\" the performer plays the double role of the performer and the audience simultaneously, talking to his own shadow. At the end, the performer suggests the audience members move into the light to see themselves in shadow.",0.9472,"\u002F4Bbq62p1lUJMdbpzY9ahmC03pxm.jpg","5b86d54c92514149e500f8fe",{"adult":4,"backdrop_path":9,"genre_ids":567,"id":568,"title":569,"original_language":71,"original_title":569,"overview":570,"popularity":571,"poster_path":572,"release_date":88,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":573,"department":14,"job":130,"media_type":33},[],545316,"Flowers","While I was staying in New York in the 1960s during the rise of the hippie movement, I filmed performances of body painting by the artist, Kusama Yayoi, together with the performers. As I wasn't satisfied with merely documenting her performance, made super-impositions of flowers over the performance, more as a film poem than a documentary, since flowers was the symbol of the hippie movement as given the name \"flower children.\"",0.9853,"\u002F8006e30KoGDv3H3SqFkCny6SDQR.jpg","5b86d6849251414a090114ac",{"adult":4,"backdrop_path":9,"genre_ids":575,"id":576,"title":577,"original_language":71,"original_title":577,"overview":547,"popularity":578,"poster_path":579,"release_date":421,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":580,"department":14,"job":130,"media_type":33},[],545321,"Film Strips I",0.6893,"\u002Fcj13zRclsIH0yIFb5YmLMHJbhKe.jpg","5b86d88892514149eb00eea5",{"adult":4,"backdrop_path":9,"genre_ids":582,"id":583,"title":584,"original_language":25,"original_title":584,"overview":585,"popularity":586,"poster_path":587,"release_date":588,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":589,"department":14,"job":130,"media_type":33},[],545314,"As I See You You See Me","\"This Is A Camera Which Shoots This\" and \"As I See You You See Me\" are both set up facing two cameras and monitors and the performer walks between them while voicing the sentence of the title. Here the words \"This\" and \"You\" have the same form in the nominative and the objective cases, switching the roles of not only the signifier (word) but also the signified (object).",0.8159,"\u002FptJKREo8PlWAwQj95yZLpcYa4it.jpg","1995-01-01","5b86d4b7c3a3683f7e0110be",{"adult":4,"backdrop_path":9,"genre_ids":591,"id":592,"title":593,"original_language":25,"original_title":593,"overview":594,"popularity":595,"poster_path":596,"release_date":588,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":597,"department":14,"job":130,"media_type":33},[],545313,"This Is a Camera Which Shoots This","\"This Is a Camera Which Shoots This\" and \"As I See You You See Me\" are both set up facing two cameras and monitors and the performer walks between them while voicing the sentence of the title. Here the words \"This\" and \"You\" have the same form in the nominative and the objective cases, switching the roles of not only the signifier (word) but also the signified (object).",0.7464,"\u002FgNvR9W9ALPWV6ccPQGjkxVCbjl0.jpg","5b86d41a92514149ef00dadb",{"adult":4,"backdrop_path":9,"genre_ids":599,"id":600,"title":601,"original_language":25,"original_title":601,"overview":602,"popularity":603,"poster_path":604,"release_date":421,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":605,"department":14,"job":130,"media_type":33},[],545325,"Kiri (The Fog)","\"Shot on 8mm on a mountain in Japan, the abrasive winds that drift the fog in Iimura's Kiri are so fierce we almost believe it to have grazed the filmstrip. The scratches, however, emerge as dust particles that submerge in and out of the mist. A comparative piece to Larry Gottheim's Fog Line (1970), Kiri shows rare patience in such a situation.\" -Julian Ross.",0.6703,"\u002F7IEY3Sj7POyBvAmIEzDFwqZf5QP.jpg","5b86da2392514149e50102ea",{"adult":4,"backdrop_path":9,"genre_ids":607,"id":608,"title":609,"original_language":25,"original_title":609,"overview":610,"popularity":611,"poster_path":612,"release_date":613,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":614,"department":14,"job":130,"media_type":33},[],545326,"Honey Moon","A touching portrait of his partner Akiko and the days following their wedding, Iimura's conceptual rigour loosens in favour of intimacy in Honey Moon. (Julian Ross)",1.0789,"\u002FgjI6DyAvQDAS7XzDLV9ubpyo4PQ.jpg","1966-01-01","5b86daae0e0a26110f011cc3",{"adult":4,"backdrop_path":9,"genre_ids":616,"id":617,"title":618,"original_language":25,"original_title":618,"overview":619,"popularity":620,"poster_path":621,"release_date":613,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":622,"department":14,"job":130,"media_type":33},[],545327,"I Saw the Shadow","A precedent to Iimura's video work where he becomes his own subject, I Saw the Shadow sees Iimura follow his own shadow in and out of vision as he roams around streets, steps and fields. As the film progresses, it becomes increasingly unclear whether it is his shadow or camera that is guiding his steps. (Julian Ross)",0.7017,"\u002FqHKqxDzzF4X5c94KQK1cbnuUUED.jpg","5b86e0c60e0a26110b0123f8",{"adult":4,"backdrop_path":9,"genre_ids":624,"id":625,"title":626,"original_language":25,"original_title":626,"overview":627,"popularity":628,"poster_path":629,"release_date":421,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":630,"department":14,"job":130,"media_type":33},[],545319,"In The River","Iimura analyzed some footage he had made in Katmandu of a man taking a bath in a sacred river. A meditational experience is, thus, presented in a film whose minimal action and quiet pace can create meditational possibilities for viewers  -Scott MacDonald (Afterimage, April, 1978, N.Y.)",0.7445,"\u002FewV5XjsHRBPjFC1V4lgBsJTlNbS.jpg","5b86d7a00e0a261116011587",{"adult":4,"backdrop_path":9,"genre_ids":632,"id":633,"title":634,"original_language":25,"original_title":634,"overview":635,"popularity":636,"poster_path":637,"release_date":378,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":638,"department":14,"job":130,"media_type":33},[],545324,"The Pacific Ocean","Shot on 8mm on the 12-day boat journey between Yokohama and San Francisco, Iimura's The Pacific Ocean consumes the anticipation and uncertainties of a voyage on waves with an obsessive attention on the ripples. (Julian Ross)",0.6652,"\u002Fv9P2h5fQ45oB1RRleA93cnNASDG.jpg","5b86d9970e0a26110d0108fb",{"adult":4,"backdrop_path":9,"genre_ids":640,"id":641,"title":642,"original_language":25,"original_title":642,"overview":643,"popularity":644,"poster_path":645,"release_date":613,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":646,"department":14,"job":130,"media_type":33},[],545328,"Iro (Colors)","First projected onto Jiro Takamatsu's naked back at the legendary Sogetsu Art Center for the performance Screen Play, Colors is an experiment in concoction. Iimura drops paint into oil and water and melts wax as he films the colors take shape whilst simultaneously dissolving into one another. An eerie soundtrack by Yasunao Tone of Group Ongaku and Fluxus creates an impression of music being the witch behind the craft. (Julian Ross)",1.1648,"\u002F7gHYBmIOX9yALYOdGVUjRx5l279.jpg","5b86dbae0e0a26111e0104a0",{"adult":4,"backdrop_path":9,"genre_ids":648,"id":649,"title":650,"original_language":25,"original_title":651,"overview":652,"popularity":653,"poster_path":654,"release_date":655,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":656,"department":14,"job":130,"media_type":33},[],548115,"Inside & Outside","うらとおもて","Short film for the \"A Commercial for Myself\" programme.",0.8126,"\u002F2VXkVr4NeYHISw671crh7TlQGbV.jpg","1964-12-16","5b9ab9f1c3a3686c08006165",{"adult":4,"backdrop_path":9,"genre_ids":658,"id":659,"title":660,"original_language":25,"original_title":660,"overview":652,"popularity":661,"poster_path":662,"release_date":655,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":663,"department":14,"job":130,"media_type":33},[],548120,"My Documentary",0.9791,"\u002F1nq7PjkrO95FiMvqu4cozeObn7j.jpg","5b9abc4cc3a3686c0400695b",{"adult":4,"backdrop_path":9,"genre_ids":665,"id":666,"title":667,"original_language":71,"original_title":667,"overview":668,"popularity":669,"poster_path":670,"release_date":613,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":671,"department":14,"job":130,"media_type":33},[],1324872,"Taka and Ako","Short film featuring Takahiko and Akiko Iimura",0.6511,"\u002Fsw4mcRLWabUQMjzEKQGeqKKACE1.jpg","66ae6b51af12c2e003a7d357",{"adult":4,"backdrop_path":9,"genre_ids":673,"id":674,"title":675,"original_language":25,"original_title":675,"overview":676,"popularity":677,"poster_path":678,"release_date":421,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":679,"department":14,"job":130,"media_type":33},[],600562,"Buddha Again","Originally filmed in 8mm a little stone-made Buddha in a temple of Katmandu, the film strip in ten seconds was projected as a loop, and then the screen w as refilmed many times in 16mm at different speeds (frames per second). The original 8mm footage has been greatly expanded through refilming in 16mm. The rhythmic manipulation of \"flying Buddha\" in the air is realized.",1.2563,"\u002F8W5EmITA9aw6qpqMmP1bcdgFQnH.jpg","5cd09564c3a3684fbcdf10db",{"adult":4,"backdrop_path":9,"genre_ids":681,"id":682,"title":683,"original_language":71,"original_title":683,"overview":684,"popularity":685,"poster_path":9,"release_date":206,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":686,"department":14,"job":130,"media_type":33},[],600536,"New York Scenes","‘New York Scenes’ (1967) is sketches of certain scenes and portraits in New York including, ‘Linda with a lens’, ‘Fire hydrants on Broadway’, ‘Jack Smith with his ‘Flaming Creatures’, ‘Akiko on the roof’, and ‘A hippie at the Central Park’.",0.6834,"5cd07ba50e0a262d7b01bf2b",{"adult":4,"backdrop_path":9,"genre_ids":688,"id":689,"title":690,"original_language":25,"original_title":690,"overview":691,"popularity":692,"poster_path":9,"release_date":693,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":694,"department":14,"job":130,"media_type":33},[],601163,"New York Hot Springs","‘New York Hot Springs’ (1984) is scenes of steam coming out of many streets of New York, a typical scene in winter, in repeated cycles of short shots. Though the scenes are shot at the same locations, the timings are differed slightly in every cycle.",0.7411,"1984-01-01","5cd33b72c3a368472dddaf1f",{"adult":4,"backdrop_path":9,"genre_ids":696,"id":697,"title":698,"original_language":71,"original_title":698,"overview":699,"popularity":700,"poster_path":701,"release_date":702,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":703,"department":14,"job":130,"media_type":33},[],601226,"Concept tape 3 (Performance)","A compilation tape of performances including John Cage Performs James Joyce, Arakawa, and Iimura's first AIUEONN and As I See You You See Me shot mostly 1980s. All deals with the relationships of words and performance in image-making.",0.7543,"\u002FdV6OBmDz0hIwKx47qlID6kzKL1n.jpg","1991-01-01","5cd38d3dc3a3685da7d85677",{"adult":4,"backdrop_path":9,"genre_ids":705,"id":706,"title":707,"original_language":25,"original_title":707,"overview":708,"popularity":709,"poster_path":710,"release_date":711,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":712,"department":14,"job":130,"media_type":33},[],630964,"Sky and Ground","Sky and ground which was cut off momentarily \u002F A camera wanders seeking its own shadow \u002F The images which explore the limit \u002F of solitude in New York \u002F A mythological verbal space in which \u002F snakes and birds are intermingled \u002F A unique world where these images \u002F and words meet.",0.6446,"\u002Fk6ULSZG4oMsA9vllVNI79yEjYFH.jpg","1996-01-01","5d7bbe5b33ec2613a97eb948",{"adult":4,"backdrop_path":9,"genre_ids":714,"id":715,"title":716,"original_language":25,"original_title":716,"overview":31,"popularity":717,"poster_path":9,"release_date":702,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":718,"department":14,"job":130,"media_type":33},[],629257,"Concept Tapes 1",0.5882,"5d72f756209f180014fb702f",{"adult":4,"backdrop_path":9,"genre_ids":720,"id":721,"title":722,"original_language":25,"original_title":722,"overview":31,"popularity":723,"poster_path":9,"release_date":702,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":724,"department":14,"job":130,"media_type":33},[],629258,"Concept Tapes 2",0.6056,"5d72f7af3a4a120013d13cce",{"adult":4,"backdrop_path":9,"genre_ids":726,"id":727,"title":728,"original_language":25,"original_title":728,"overview":729,"popularity":730,"poster_path":731,"release_date":702,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":732,"department":14,"job":130,"media_type":33},[],629259,"Fluxus Replayed","The film reproduces the historic performances by some of the iconic artists of Fluxus from the 60s: Nam June Paik, Yoko Ono, Dick Higgins, George Brecht, Alison Knowles, Ben Patterson, Jackson Mac Low etc.",1.2154,"\u002F1njrUdoR7P12Wi2C3n1kdKZi63k.jpg","5d72f7df3a4a120011d13fa6",{"adult":4,"backdrop_path":9,"genre_ids":734,"id":265,"title":266,"original_language":25,"original_title":266,"overview":267,"popularity":268,"poster_path":269,"release_date":270,"softcore":4,"video":4,"vote_average":271,"vote_count":10,"credit_id":735,"department":467,"job":468,"media_type":33},[264],"5de0c275c51acd0013f50457",{"adult":4,"backdrop_path":9,"genre_ids":737,"id":382,"title":383,"original_language":25,"original_title":384,"overview":385,"popularity":386,"poster_path":387,"release_date":388,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":738,"department":331,"job":332,"media_type":33},[45],"5e0b7846be6d8800130181be",{"adult":4,"backdrop_path":9,"genre_ids":740,"id":741,"title":742,"original_language":25,"original_title":742,"overview":743,"popularity":744,"poster_path":745,"release_date":349,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":746,"department":14,"job":130,"media_type":33},[],687853,"Scared to Death","An image synthesized version of Mardi Gras festival in New Orleans, in which many colorized images flow slowly left to right as the parade of the floats goes by in front of the camera with the decorated messages. The title Scared to Death is one of them. The development of the images is somewhat similar to the old Japanese scrolled painting: Makie.",0.7072,"\u002Fys9RLvbdw4meLIdrpCDm1vG4xhY.jpg","5e817a0a498ef90017ca0059",{"adult":4,"backdrop_path":9,"genre_ids":748,"id":749,"title":750,"original_language":25,"original_title":750,"overview":751,"popularity":752,"poster_path":753,"release_date":234,"softcore":4,"video":4,"vote_average":65,"vote_count":65,"credit_id":754,"department":14,"job":130,"media_type":33},[],784808,"Dead Movie","Film installation by Japanese experimental filmmaker Takahiko Iimura.",1.2329,"\u002FuUGSDtiwUwKevqTN92Xsu60icyh.jpg","5ffb73b1dd83fa003d71b931",{"adult":4,"backdrop_path":9,"genre_ids":756,"id":757,"title":758,"original_language":48,"original_title":758,"overview":759,"popularity":760,"poster_path":761,"release_date":260,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":762,"department":14,"job":130,"media_type":33},[],1371040,"Circle & Square","The 1981 performance Circle & Square by Takahiko Iimura, New York-based Japanese film and video pioneer, evolved from the artist's interest in exposing the apparatus of projection and the materiality of image and light, which began in the mid-60s. The work commences with the projection of a long loop of black 16mm film leader suspended from the ceiling. The artist punches a hole on the film's surface and as it loops through the projector's gate, a single white circle of light pierces the darkness. With each subsequent punch the film builds before the viewer’s eyes into a cascade of white circles before reaching its abrupt and revelatory conclusion.",1.142,"\u002FaGGZK4D4rEQfJnVGEBD3zZEyqr.jpg","670cdc193bb4557c669c0169",{"adult":4,"backdrop_path":9,"genre_ids":764,"id":765,"title":766,"original_language":71,"original_title":766,"overview":767,"popularity":768,"poster_path":9,"release_date":179,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":769,"department":14,"job":130,"media_type":33},[],1387075,"Models: A-1: 2 Min. 46 Sec. 16 Frames","By using simple systems of counting and measuring in film, Iimura has drawn attention to the complexities of our time perception – memory, rhythm, phase – and the interaction between coucious conception of time, and the physical perception of its passing. Iimura is a significant and singular filmmaker, but also one of the most important 'conceptual' artist working in any medium. – Malcolm Le Grice, Time Out, April 1975, London",0.694,"6734058f3e82ba79fccf1913",{"adult":4,"backdrop_path":9,"genre_ids":771,"id":772,"title":773,"original_language":71,"original_title":773,"overview":774,"popularity":775,"poster_path":9,"release_date":179,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":776,"department":14,"job":130,"media_type":33},[],1387076,"Models: A-2: Timing 1, 2, 3, 4","Takahiko Iimura's Models Series",0.721,"673405d9c972781b8d73b8d5",{"adult":4,"backdrop_path":9,"genre_ids":778,"id":779,"title":780,"original_language":71,"original_title":780,"overview":781,"popularity":782,"poster_path":9,"release_date":179,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":783,"department":14,"job":130,"media_type":33},[],1387077,"Models: A-3: Time Length 1,2,3,4","\"These two reels (A-1~4, B-1~4) of MODELS I think are unusually important works. You are certainly one of the filmmakers to so explicitly direct your effort to the amazing aesthetic question of the internal calibration of consciousness. It is a work, which so completely bares the brain of its receiver that the total life message can transmit across the thread of your work directly, without complication, or artifice or diversion. Such complete communication has crossed the boundaries of embarrassment and speaks in a voice of convincing spirituality\" – Tony Conrad, in a note to Iimura, February 20, 1974",0.5893,"673406139c1a238d8a9d2ae1",{"adult":4,"backdrop_path":9,"genre_ids":785,"id":786,"title":787,"original_language":71,"original_title":787,"overview":788,"popularity":789,"poster_path":9,"release_date":179,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":790,"department":14,"job":130,"media_type":33},[],1387078,"Models: B-1: Counting, 100 Or X's","Models, Reel 2 (B-1~4) consists of four works and is dealt with, different from Reel 1, symbol\u002Fwords, and the logic in film. First \"Counting 1 to 100 or X\" is made of four 100feet films and the number of 1 to 100 are replaced by multiplied (10, 20,40,80) Xs, which may be \"read\" as numbers through repeated perception.",0.665,"67340674c972781b8d73b92e",{"adult":4,"backdrop_path":9,"genre_ids":792,"id":793,"title":794,"original_language":71,"original_title":794,"overview":774,"popularity":795,"poster_path":9,"release_date":179,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":796,"department":14,"job":130,"media_type":33},[],1387079,"Models: B-2: A Line 1, 2, 3",0.7225,"673406dd76af3ae7b638af7c",{"adult":4,"backdrop_path":9,"genre_ids":798,"id":799,"title":800,"original_language":71,"original_title":800,"overview":774,"popularity":801,"poster_path":9,"release_date":179,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":802,"department":14,"job":130,"media_type":33},[],1387081,"Models: B-3: To See the Frame, Not to See the Frame",0.7925,"6734074a76af3ae7b638af9b",{"adult":4,"backdrop_path":9,"genre_ids":804,"id":805,"title":806,"original_language":25,"original_title":806,"overview":807,"popularity":808,"poster_path":809,"release_date":810,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":811,"department":14,"job":130,"media_type":33},[],1391810,"Moments At The Rock","“Moments At The Rock,” shot with an amateur video camera, was made as a free style improvisational film. The camera got strange halations from the strong sunshine in the desert of Australia, and I was quite surprised by the result which surpassed the color change caused by nature over the rock. This film was awarded Grand Prize at the Edison International Film Festival.",0.7996,"\u002Fciqejel7o2gD5e2DQlX34nJj1e5.jpg","1985-06-30","6740cbadcce66cf899e93b5f",{"adult":4,"backdrop_path":9,"genre_ids":813,"id":805,"title":806,"original_language":25,"original_title":806,"overview":807,"popularity":808,"poster_path":809,"release_date":810,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":814,"department":815,"job":816,"media_type":33},[],"6740cbbcdd53fa0060333dac","Camera","Director of Photography",{"adult":4,"backdrop_path":9,"genre_ids":818,"id":805,"title":806,"original_language":25,"original_title":806,"overview":807,"popularity":808,"poster_path":809,"release_date":810,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":819,"department":820,"job":821,"media_type":33},[],"6740cbc7dd53fa0060333dbf","Editing","Editor",{"adult":4,"backdrop_path":9,"genre_ids":823,"id":824,"title":825,"original_language":25,"original_title":825,"overview":826,"popularity":827,"poster_path":828,"release_date":829,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":830,"department":14,"job":130,"media_type":33},[],1391816,"A Rock In The Light","In “A Rock In The Light”, I requested the music of Haruyuki Suzuki, a contemporary composer. This music is unified with the image, which is visually structured, setting the rock at the center, along the axis of light. For the new DVD version, I titled “Air’s Rock”.",0.6548,"\u002F615QYiGBvomtOG5YH79IALq35Dk.jpg","2008-06-30","6740cd3ccce66cf899e93c17",{"adult":4,"backdrop_path":9,"genre_ids":832,"id":824,"title":825,"original_language":25,"original_title":825,"overview":826,"popularity":827,"poster_path":828,"release_date":829,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":833,"department":815,"job":816,"media_type":33},[],"6740cd50cce66cf899e93c2d",{"adult":4,"backdrop_path":9,"genre_ids":835,"id":824,"title":825,"original_language":25,"original_title":825,"overview":826,"popularity":827,"poster_path":828,"release_date":829,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":836,"department":820,"job":821,"media_type":33},[],"6740cdeff0f2ed8f9851e1c7",{"adult":4,"backdrop_path":9,"genre_ids":838,"id":839,"title":840,"original_language":71,"original_title":840,"overview":841,"popularity":842,"poster_path":9,"release_date":843,"softcore":4,"video":4,"vote_average":30,"vote_count":30,"credit_id":844,"department":14,"job":130,"media_type":33},[],1393691,"Shadowman (The Structure of Seeing and Hearing)","A mind-twisting video, meditating on the experience of watching film\u002Fvideo, and of seeing and being seen. 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