Ai(Love)
1962

On Eye Rape
1962


A Dance Party In The Kingdom Of Lilliput、1964


Kuzu(Junk)
1962


Onan
1963

Summer, Happenings, U.S.A.,
1967-68




In The River
1969-70



Film Stripus I, II,
1966-70




"Anma"



"Rose Colored Dance"



"Cine Dance: The Butoh of Tatsumi Hijikata
- "Anma (The Masseurs)(1963-2001)"

1963-2001、B&W、silent、20minutes(Completed Version).
Dancers: Tatsumi Hijikata, Kazuo Ohno, Yoshito Ohno, Akira Kasai, and others


"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.



Cine Dance: The Butoh of Tatsumi Hijikata
- "Rose Colored Dance"(1965-2001)
1965-2001, B&W, silent, 13minutes(Completed Version)
Dancers: Tatsumi Hijikata, Kazuo Ohno, Yoshito Ohno, Akira Kasai, Mitsutaka Ishii, and others

Another Cine Dance, "Rose Colored Dance" by Tatsumi Hijikata, the creator of Butoh dance, a modern dance of Japan, is a classic of Butoh. Choreographed and performed in 1965 by Hijikata with guest dancer, Kazuo Ohno among others, the film is the only document of this historical performance. Not only as a dance document but also as a Cine-Dance, a term made by Iimura, that meant a choreography of film.
The highlight is the duet of Hijikata and Ohno, a rare appearance of two main characters of Butoh together, who performed a "gay" dance of two male figures with tenderness and wildness at the same time.
Though titled "Rose Colored Dance", the film (and the dance as well) is monochrome with strong emphasis on white, all the dancers wearing white clothing with thier bodies painted white, and has occasional washed out scenes which are almost invisible. The scenes are an another attempt of Cine-Dance.

"Through these films, it became clear that the Black Butoh dance created by Tatsumi Hijikata is closer to the neo-dada movement taking over the provocative, cynical and absurd forms rather than the German expressionist dance usually connected."
- Nicolas Villodre, curator of Cinematheque Francaise, Paris


24FRAMES.jpg
24 FRAMES PER SECOND
1975-78
24 FRAMES PER SECOND
1975-78 , B&W, 12min.
Both in terms of its examination of time and space, of light and darkness, of visuals and sounds; and in terms of its demands and potential rewards for an audience, 24 FRAME PER SECOND is the quintessential Iimura film. (Scott Macdonald, Afterimage, April 1978)

SHUTTER,1971
SHUTTER
1971, 16mm,B&W, 25min, Sound
"SHUTTER marks a further step in Iimura's developing interest in formal concerns・・・Using two projector speeds and various camera speeds, he photographed the light thrown onto a screen by a projector with no film running through it. Because of the disparities between the speeds of the camera and projector shutters, the resulting footage, which he printed first in positive, then in negative, creates a series of flicker effects. ・・・ "
Scotto MacDonald, Afterimage, April, 1978
2min.jpg
2 Minutes 46 seconds 16 Frames,1972
"2 Minutes 46 seconds 16 Frames"(Film),1972, Models, Reel1, B&W, 43min.
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)



TALKING IN NEW YORK
1980

TALKING IN NEW YORK
1980, S.8mm/16mm(Blow up from S.8mm), Color, 18min., Sound


MA: SPACE/TIME IN THE GARDEN OF RYOAN-JI(Film), 1989, 16mm, Color, 16min., Music:Takehisa Kosugi, Produced for Metropolitan Museum of Art, New York
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/visuals/titles. 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, edited by Nadine Covert, New York)