Encouraging associations across periods, geographies, and mediums, this section draws together diverse contents from post. View all Themes
create your account
to participate in the discussion.
Iimura Takahiko’s idea on screening is interesting in terms of his investigating the specificity of screen or filmic environments, and expanding the possibilities of projection as a event. His saying that “the screening is the first occasion where film as expression unfolds” construes screening as a living event that generates filmic space-time. At a glance, this concept seems to be similar to that of traditional screenings at a theater; however, his idea is very different from that of static cinema apparatus because his idea of screening fundamentally raises a question about the conventional projection. Furthermore, Iimura explores the materialistic environments of the screenings. His screens are generated on the very surfaces of the 1960s' Japan.
Indeed, his performance makes surfaces of everyday variable screens on which the materials―body, ceiling, balloon, gymnasium, gallery, etc.―could find the way of communication with one another. Their fluid intersections might be understood “the copulation of media” by Iimura. His thought of intermedia might be stemmed from the society of the time in which people live together with (capitalistic) materials that were given their own corporeal lives by the era of conspicuous consumption. In this sense, I might say that his performance could be perceived as an allegory of the existence of the materials of the 1960s.
Iimura Takahiko’s idea on screening is interesting in terms of his investigating the specificity of screen or filmic environments, and expanding the possibilities of projection as a event. His saying that “the screening is the first occasion where...
Circle the Square: Film Performances by Iimura Takahiko in the 1960s