Yoichiro Serizawa
약력
SERIZAWA Yoichiro (芹沢洋一郎) was born in 1963. His debut work, Really? was screened at the 1981 Image Forum Festival. After shooting a series of gory films, his style changed after learning about the harmony of subject and method from Robert Bresson and OKUYAMA Junichi. Between Man (1989) and Killer Camera (1996) won prizes at the 1990 Image Forum Festival and the 41st San Francisco International Film Festival respectively.
SERIZAWA Yoichiro created many experimental works on the theme of the “unity of subject and method” from the end of the 1980s through the 1990s, and was widely acclaimed both in Japan and overseas. In the present era in which moving images tend to be reduced to “content” or “story,” SERIZAWA’s works that thrillingly and vividly show us the process of creating film itself are more necessary than ever.
Director
After the release of "Synthetic Human" in 1993, director Yoichiro Serizawa waited 30 years for an opportunity to make a sequel. Both the previous work and this one aimed at an accurate objectification of human vision. When we see something we see it on our retina but the image in our mind is not the only thing we see. In this film both memory and delusion are "visible" at the same time while the point of view and perception of different individuals is presented.
Director
The global coronavirus infection has deprived filmmakers of the opportunity to screen and present their films. Filmmakers can't help but be stuck in the midst of not knowing when this situation will converge. This is a project in which filmmakers who are presenting their works using 8 mm or 16 mm film alone will randomly connect the works submitted to the project "Movie Film Project to Overcome Covid-19"
Director
A participant in the MOVIE FILM PROJECT TO OVERCOME CORONA VIRUS organised by Mistral Japan, the film is about a mother who passed away more than 10 years ago and was an extreme germophobe, boiling tofu for cold tofu once before serving it at the table. If such a mother had lived in Corona, she might have been more active than expected.
Director
A man and a film gauge try to survive their own consumption.
Director
The director explains the concept and shooting method used in the film “Direct Light”.
Director
A man tries to tell a story but is murdered by a 16mm camera.
Director
A Woman's cheeks are lit by the Sun while Film is illuminated by the lamps of the projector. But after all a Movie can only be shown to the audience through the light of the Projector.
Director
A video correspondence between Yoichiro Serizawa and Shinji Takeyoshi.
Director
16mm film portrait of a woman, a camera and the moon.
Director
An 8mm film study framing a woman and the different images of her own self being overlapped.
Director
A man and a woman equipped with a camera shoot film while riding a bicycle. There must be something visible while moving forward and backwards.
Director
Some people say that "movies are made by connecting still pictures”, but that is not true. A frame of the film is not a photograph, but “something that failed to exercise”.
Director
An 8mm study on the synchronization between image and sound.
Director
Experience time-lapse photography.
Director
A collection of excerpts from the “Bloody Films" produced during college (1982-85).
Script
My high school life is the worst, but I wanted to express that feeling while I'm the worst," says the director, and his feelings are conveyed through direct images. In his room, the protagonist looks at an album while wearing an eye patch for some reason. The sound of sniffling throughout the film. A classroom scene is repeated like a formula. In contrast to the quiet flow of the first half of the film, the second half is filled with the power of visual sadism and a throbbing urge for violence, such as the constant beating of a boy on a motorbike.
Director of Photography
My high school life is the worst, but I wanted to express that feeling while I'm the worst," says the director, and his feelings are conveyed through direct images. In his room, the protagonist looks at an album while wearing an eye patch for some reason. The sound of sniffling throughout the film. A classroom scene is repeated like a formula. In contrast to the quiet flow of the first half of the film, the second half is filled with the power of visual sadism and a throbbing urge for violence, such as the constant beating of a boy on a motorbike.
Director
My high school life is the worst, but I wanted to express that feeling while I'm the worst," says the director, and his feelings are conveyed through direct images. In his room, the protagonist looks at an album while wearing an eye patch for some reason. The sound of sniffling throughout the film. A classroom scene is repeated like a formula. In contrast to the quiet flow of the first half of the film, the second half is filled with the power of visual sadism and a throbbing urge for violence, such as the constant beating of a boy on a motorbike.
