presented in association with Yerba Buena Center for the Arts
series co-curated by Go Hirasawa and Julian Ross
[members $8 / non-members $10]

Expanded cinema became a true phenomenon in late 1960s Japan. In addition to various structuralist investigations, artists began exploring multiple projection and film as performance. This program features some of the best practitioners of the period, including Toshio Matsumoto—whose three-projection piece Tsuburekakatta Migime no Tame ni (For My Crushed Right Eye) was the first of its kind—and Rikuro Miyai, who overlapped images of performance troupe Zero-Jigen using double-projection to create Jidai Seishin no Genshogaku (Phenomenology of Zeitgeist). The program concludes with the anarchistic revolt of decathlete Shuji Terayama’s Emperor Tomato Ketchup, which scandalized the country both as a radio play and a film. (Go Hirasawa and Julian Ross)

Jidai Seishin no Genshogaku (Phenomenology of Zeitgeist) (Rikuro Miyai, 37 min)
Tsuburekakatta Migime no Tame ni (For My Crushed Right Eye) (Toshio Matsumoto, 13 min)
Tomato Ketchappu Kotei (Emperor Tomato Ketchup) (Shuji Terayama, 27 min)

(1967-1971, 77 min, 16mm and digital)