Rikurô Miyai

Correlated with Susan Sontag's theorization of kitsch as well as employing the queer lingo of "camp," this film's relentless equal opportunity pop-art montage shattered the foundations of conventional cinema, making it a true document of the Shinjuku underground scene. Director Okabe himself appears recreating his favorite roles from Bonnie and Clyde to Spaghetti Westerns, as well as incorporating quotations by inserting stills of Godard, Kennedy’s assassination and the Vietnam War.

Miyai layers ghostlike footage of unauthorized street performances in the Shinjuko district of Tokyo with color filters and lights.

In Shadow (1968), Rikuro Miyai projects two films of his own shadow walking outdoors side-by-side—one positive, one negative—each a reflection of the other.

No synopsis available yet.

Miyai layers ghostlike footage of unauthorized street performances in the Shinjuko district of Tokyo with color filters and lights.

In Shadow (1968), Rikuro Miyai projects two films of his own shadow walking outdoors side-by-side—one positive, one negative—each a reflection of the other.

No synopsis available yet.