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Tokyo street

Yesterday I finished up the 6 day workshop at the Film School of Tokyo.  Given that it was really just 4 days as a hole was knocked into the schedule by the Christmas 24/25th days making no room available those days, I’d say it came out very well. 13 participants, all of whom tried, and last night, showing the rushed little films they’d made during the last day, I was very pleased at how good they were, and how much they’d learned in so short a time.  I come back at the start of March to give a talk at the Athenee Francais, which is doing a partial retrospective, and the last thing we’ll show is new films these people make in the 2 months at hand.  I am optimistic most of them will make something worthy of showing in public.  Anyway a nice time, even if I am a bit tired in consequence.

While here, at the behest of Toshi Fujiwara, who translated for me, and has his new film No Man’s Zone showing in the upcoming Berlin Forum, I screened for just a few of us, my last finished film, Dissonance.   I had, in fact, never actually sat down and seen it – instead I’d set it up on the computer, rendered a file of it, and since the conceptual nature of it didn’t really require I look at it there, and once finished I didn’t take time to sit and look at it, I never did look at it.  On finally seeing it I guess I’d say it confirmed my thoughts about what it would do – ruffle your psychic feathers in some undefinable manner.

The first sequence lasts 50 minutes: 3 panels, per above, each a single take.  As I thought, it doesn’t get boring at all – instead it slips under your radar and plays with your subconscious.  The remaining sequences do the same:

So I guess it will join the growing list of my unseen cinema.  I sent this one, and previous ones, out to enough festivals, but for some reason they don’t accept them.  I confess they’re not what one would call “audience pleasers” and it seems increasingly that is what festivals, bowing to the dictates of commercial pressures, require.  Don’t want to challenge or upset our audience.  Recently, while looking for screenings in US for the coming spring, I suggested to programmer in the mid-west that I’d like to screen my Iraq war trilogy – Homecoming, Over Here, and Parable.   She nixed the idea, saying that whenever she’d screened films having anything to do with Iraq or Afghanistan, the warm butts had not shown up.   I guess even the so-called liberal kind of people who go to art-house type cinemas would rather keep their heads in the sand about what America does, and what that does to us.   Nice for the government that does these things in our name that the citizenry, acting like good Soviet ones, makes censoring unnecessary: they do it themselves.

pic steverachshower3x

From Parable

At Toshi’s request also showed Parable, which I had not seen in quite a while – a few years perhaps – and it is one weird film too.  I guess in my dotage I am going off the deep end.

Homeless in Tokyo

Tomorrow back to Seoul, for a few more months.  Later perhaps some further ruminations on the rich texture of Tokyo, where a disembodied present collides with fragments of the past and sends signals of the future spiraling out.

Happy Gregorian Spin Around the Sun 2012 !

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