Toshio Matsumoto
Nascimento : 1932-03-25, Nagoya, Aichi, Japan
Morte : 2017-04-12
História
Toshio Matsumoto (松本 俊夫 Matsumoto Toshio) (March 25, 1932 – April 12, 2017) was a Japanese film director, a pioneer of avant-garde experimental movies, multimedia, and video in his homeland and abroad. Matsumoto was born in Nagoya, Aichi, Japan and graduated from Tokyo University in 1955. His first short was Ginrin, which he made in 1955, however his most famous film is 1969's wildly experimental Funeral Parade of Roses (also known as Bara no soretsu). Funeral Parade of Roses influenced Stanley Kubrick's film A Clockwork Orange heavily. The film was a retelling of Oedipus Rex, featuring a trans person (portrayed by Pîta) trying to move up in the world of the Japanese hostess clubs.
Matsumoto published many books of photography and art and was a professor and dean of Arts at the Kyoto University of Art and Design. He was also the President of the Japan Society of Image Arts and Sciences.
Director
A previously unseen short by the Japanese avant-garde titan, Toshio Matsumoto's 1986 Summer locates faces and bodies within superimpositions, zooms, a lightning-fast montage of brick structures and verdant trees.
Director
Matsumoto's last video was produced by Sano Gallery. Matsumoto set the common theme as “Seeing” in 2009, six co-writers participated to directing the omnibus film, "Seeing". Initially, there were no plans to expand it into trilogy, and Matsumoto was also limitedly involved in the work. Later, Matsumoto envisioneds works that pursued the omnibus format, and sets up a common theme of "memory.” Afterwards, Matsumoto begun the production of Pilgrimage into the Memory, a reconstruction of works produced by five participating artists. However, the Great East Japan Earthquake occurred while producing the work. Matsumoto shocked by the earthquake and Fukushima Daiichi nuclear accident, he decided to produce a new work, All Things Change, and titled it's trilogy, Toro no Ono Daisambu. The third part, All Things Change, consists of videos produced by Tanotaiga, Kanako Inaki, Hiroyuki Oki, Okuno Kunito, and Tanako Tanaka.
Himself
A documentary on sixties counterculture in Japan featuring Donald Richie, Tadanori Yokoo, Masao Adachi, Koji Wakamatsu, Toshio Matsumoto and Akaji Maro among others.
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Director
Toshio Matsumoto's video on decommunization in Eastern Europe.
Screenplay
A young man kills his bride on the day of his marriage and goes insane. He wakes up in an asylum with no memory, left in the hands of two mysterious doctors who relate his condition with his biological identity.
Director
A young man kills his bride on the day of his marriage and goes insane. He wakes up in an asylum with no memory, left in the hands of two mysterious doctors who relate his condition with his biological identity.
Engram is a three-part piece revolving around a few good old ideas such as photos inside of photos, movies inside of movies, photos inside of movies, movies inside of photos, and (even) a film director inside a TV set.
Director
Engram is a three-part piece revolving around a few good old ideas such as photos inside of photos, movies inside of movies, photos inside of movies, movies inside of photos, and (even) a film director inside a TV set.
Director
It was produced to be exhibited at the “Personal Focus” (April 23-8, 1985), a three-minute, 8mm film screening held in Fukuoka. Digitized the original 8mm film that Matsumoto had been stored. The concept of this works is same as Delay Exposure, but in this film, it begins with a sequence that sets the aperture to excessive exposure. During a one to two-second-long shoot, the camera zooms in, the automatic exposure device also follows the movement of the image, and immediately lights the screen with proper exposure. This short sequence combined with a series of shots in the background, is processed.
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Pictures from a Buddhist temple cut up and manipulated.
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Director
"A flicker film made using only intense shock-zooms, Vibration is one of a series of films Matsumoto made in the 1980s that explored proprioception through a mixture of minimalist effects and modernist architecture." - filmlinc.org
Director
"Set to a soundtrack of pulsing synth bleats, Delay Exposure rhythmically deploys a low-tech, in-camera tricks—including lens-flares, whip-pans, and rapid, strobing exposure shifts—to builds an affective sense of place and architecture." - filmlinc.org
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In Relation, the focus of the viewer’s attention is guided by pointers moving through the screen.
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By cutting up and zoom in on images of facades creates Matsumoto visual effects.
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In Connection, a static shot of the sky with moving clouds is subdivided into regular geometrical regions, which are then individually (and rhythmically) manipulated.
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'Ki or Breathing' is a spare concoction assembled from slow motion shots of nature and set to a score by the much-acclaimed Tohru Takemitsu.
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Format: 16 mm standard; Color; Sound; 30 min 10 sec Sponsor: Japan Sake and Shochu Makers Association
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Avant garde/experimental film. A mesmerizing trip through the psychedelic vastness of space.
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Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.
Writer
A young drifter and a precocious sixteen years old girl slowly form a bond in a small town haunted by its wartime past.
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A young drifter and a precocious sixteen years old girl slowly form a bond in a small town haunted by its wartime past.
Editor
ĀTMAN is a visual tour-de-force based on the idea of the subject at the centre of the circle created by camera positions (480 such positions). Shooting frame-by-frame the filmmaker set up an increasingly rapid circular motion. ĀTMAN is an early Buddhist deity often connected with destruction; the Japanese aspect is stressed by the devil mask of Hangan, from the Noh, and by using both Noh music and the general principle of acceleration often associated with Noh drama.
Director
ĀTMAN is a visual tour-de-force based on the idea of the subject at the centre of the circle created by camera positions (480 such positions). Shooting frame-by-frame the filmmaker set up an increasingly rapid circular motion. ĀTMAN is an early Buddhist deity often connected with destruction; the Japanese aspect is stressed by the devil mask of Hangan, from the Noh, and by using both Noh music and the general principle of acceleration often associated with Noh drama.
Director
Director
Matsumoto's early video work Murder Catalogue, but there were few opportunities to be screened at that time since it dealt with a grotesque image. Digitized a half-inch videotape he had kept in his studio. It is a work that shows the original form of a mysterious narrative that later appears well in Matsumoto's work, as it is constructed to repeat an event through long-term filming of a video and monologues by a cassette tape recorder. A photograph is placed in front of the video camera by one by one and the camera zooms in mechanically towards the images. Also, in Matsumoto's voice, a short monologue about the photos recorded on the tape is played. However, the voice is suddenly cut off by the sounds of hitting and the screams of the terminal, followed by the camera starting to expand the different images in the same way, and the voice of the recorder is played over and over again. - Ex-Is
Director
There's more to picture than meets the eye in this journey into oriental metaphysical imagery. Starting (in a very Christian manner) with the Word, the film draws an explosion of visible forms, as if a sign of the shattering of shapes in the mundane world. But time is cyclical, of course, and what was once a multitude of sensible realities must eventually return to the Word and, finally, to sheer Color. (Sound of Eye)
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A psychedelic yoga lesson with some beautiful and bizarre visuals.
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Director
A kaleidoskopic image of Andy Warhol, presumably found footage from some interview, is slowed down and played over sudden pangs of screeching white noise. Warhol's own distorted, delayed, voice guides us through the gaseous hallucination.
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An experimental short film from Toshio Matsumoto featuring Mona Lisa.
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Director
Expansion remixes the images of Matsumoto’s Esctasis into an more colourful psychedelic short.
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Writes Matsumoto, "I used the Erekutoro Karapurosesu (Electro Color Processor), which is mainly used in the field of medicine and engineering, to create moving image textures Metastasis, I was interested in layering images of a simple object and its electronically processed abstraction. The electronic abstract image is manipulated in a certain rhythm, depicting an organic process."
Screenplay
Gengobe Satsuma, an exiled samurai cast out as an Asano clan retainer is given a second chance to join his brothers in arms to become the 48th Ronin against the Shogunate. His faithful servant gathers the 100 ryo required for his acceptance. Gengobe is also in love with a greedy geisha named Koman. About to be sold to another man, Gengobe learns that for him to keep her, her debt is exactly 100 ryo.
Director
Gengobe Satsuma, an exiled samurai cast out as an Asano clan retainer is given a second chance to join his brothers in arms to become the 48th Ronin against the Shogunate. His faithful servant gathers the 100 ryo required for his acceptance. Gengobe is also in love with a greedy geisha named Koman. About to be sold to another man, Gengobe learns that for him to keep her, her debt is exactly 100 ryo.
Director
Experimental film by Toshio Matsumoto created for the 1970 world's fair, Expo '70 in Osaka. The film was made up of multiple projections onto the inside of the Textile Pavilion, a dome with an interior designed by Yokoo Tadanori, and featured a 57-channel music score by Joji Yuasa.
Screenplay
O filme nos apresenta uma mostra da cultura gay japonesa em fins da década de 1960. Usufruindo da inclusão de ornamentos visuais vindos diretamente do mundo do design gráfico, da pintura, quadrinhos e da animação contemporânea, Toshio Matsumoto adentra a Novelle Vague japonesa com uma obra totalmente inovadora e polêmica. Sexo, nudez, consumo de drogas e o cotidiano de travestis foram articulados e trabalhados com uma desenvoltura ímpar. Um choque febril entre a estética de vanguarda e os sobressaltos típicos de filmes B. Em meio à sexo e violência, presenciamos um triângulo amoroso: Eddie é um jovem travesti, que se torna o mais popular do clube em que trabalha e inicia um romance com o companheiro e cafetão de Leda, um travesti que fora a grande estrela da noite, mas que com o passar dos anos já perdeu o encanto.
Director
O filme nos apresenta uma mostra da cultura gay japonesa em fins da década de 1960. Usufruindo da inclusão de ornamentos visuais vindos diretamente do mundo do design gráfico, da pintura, quadrinhos e da animação contemporânea, Toshio Matsumoto adentra a Novelle Vague japonesa com uma obra totalmente inovadora e polêmica. Sexo, nudez, consumo de drogas e o cotidiano de travestis foram articulados e trabalhados com uma desenvoltura ímpar. Um choque febril entre a estética de vanguarda e os sobressaltos típicos de filmes B. Em meio à sexo e violência, presenciamos um triângulo amoroso: Eddie é um jovem travesti, que se torna o mais popular do clube em que trabalha e inicia um romance com o companheiro e cafetão de Leda, um travesti que fora a grande estrela da noite, mas que com o passar dos anos já perdeu o encanto.
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Two chaotic series of images, one for each eye. Hipster living, malformed fetuses, war, arts events and pop culture stands for the material.
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Repetitive abstract experimental film. A bearded man flickers past a hundred times.
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Magnetic Scramble is the first video work by Toshio Matsumoto. Here, the artist manipulates television images (of student demonstrations against the U.S.-Japan Security Pact) by holding a magnetic coil next to the monitor. Matsumoto later incorporated this piece into a scene of his film Funeral Parade of Roses (1969).
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Documentary about the relationships between mothers and their children.
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A documentary focusing on the things and animals necessary for the Olympics in Tokyo in 1964.
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While extracting and polishing their blocks of stone, stonecutters used to say “the stone is coming to life". This paradox provided Matsumoto with the best metaphor for what making a film is all about. In his opinion, filmmakers work images in the same way that stonecutters work stones.
Director
Screenplay
The Weavers of Nishijin captures the process of traditional textile manufacture in Nishijin.
Director
The Weavers of Nishijin captures the process of traditional textile manufacture in Nishijin.
Screenplay
Towards the end of the Second World War, a downed U.S. pilot is captured and imprisoned by rural Japanese villagers, who await official instructions as to how to proceed with their “catch.”
Director
Early experimental PR "cine-poem" by Toshio Matsumoto. Commissioned by Kansai Electricity, the film paints an abstract, near-wordless retelling of the development of power stations in Japan, through to the presumed oncoming advent of nuclear power.
Writer
An early experimental film by Toshio Matsumoto. Produced as part of the student riots in Japan at the start of the 1960s, Matsumoto uses collage, archival footage, and impassioned narration to create an expressive, visceral criticism of the US-Japan Security Treaty.
Director
An early experimental film by Toshio Matsumoto. Produced as part of the student riots in Japan at the start of the 1960s, Matsumoto uses collage, archival footage, and impassioned narration to create an expressive, visceral criticism of the US-Japan Security Treaty.
Director
A short documentary about a trailer weighing over 300 tons that carries material for the construction of a dam toward Tokyo.
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The film is a promotional film, recording the construction of a pressurized lockbox at the Hachinohe power plant in Aomori. Matsumoto's official first directorial debut at the Shinriken Motion Picture, the film found a 16mm film print stored in a civil library and digitized. His official credit is the assistant director in Silver Ring, commonly known as Matsumoto's first work. Matsumoto challenged to objectively capture the image of the worker in camera in spite of the limitations of promotional films where the records of the construction site were prioritized.
Director
A surrealist commercial for bicycles.
