MOVOP Animation Screenings & Exhibition

 

MOVOP is a collective of young animators under 30 who want to re-evaluate contemporary animation practices. The members of the collective include Fukumi NAKAZAWA (中澤ふくみ), Lina MACHIDA (まちだりな), Nana KAWABATA (川畑 那奈), Riku TAKAHASHI (高橋李空) / DOKUZEN, MARU AKARI, Hiroki KURASAWA (倉澤 紘己), and Aiko OKAMURA (岡村 あい子). 

 MOVOP is a neologism combing the English expressions ‘move up’ (上にあがる) and ‘move on’ (進む) and the Czech word ‘potok’ meaning brook or stream (小川). The letter ‘O’ between the letters M/V/P is also meant to evoke the gaps between frames that create the illusion of movement in animation.

The collective seems to be pushing back against the trend for animation to be completely online and digital. In their declaration, they talk about making things with their own hands and to create an archive of their works in physical form. They also want to create real spaces for young animators to engage in debate and discussions about animation practices with their peers.

In November, they published the inaugural edition of their e-zine on their website. I first heard about MOVOP because of physical postcards and flyers their distributed at the New Chitose Airport International Animation Festival in November. The first weekend of March, MOVOP will be holding their first screenings and exhibition at Digiti Minimi and co-hosted by Tampen. 

Program A 

 Kukkiri to Boyata / くっきりとぼやけた 

 dir. Lina MACHIDA / まちだリな, 5’23”, 2024 New work! 

 w_lk 

dir. Riku TAKAHASHI / 高橋李空 / DOKUZEN, 2’58” 

 The Day It was an Excursion / えんそくだったひ 

 dir. Hiroki KURASAWA / 倉澤紘己, 5’49”, 2023 

 Deforming after Transforming (変形して奇形する) 

 dir. Fukumi NAKAZAWA / 中澤ふくみ , 8’47”, 2021 

 lier 

dir. MARU AKARI, 1’, 2024　New work! 

 The Ship of Synapse 

Riku TAKAHASHI / 高橋李空 / DOKUZEN, 2’, 2023 

 Weather Map 

dir. Nana KAWABATA / 川畑那奈 ,9’09", 2021

Program B 

Mimimi and the Aliens (みみみとうちゅうじん) 

dir. Hiroki KURASAWA / 倉澤紘己, 5’55”, 2024　New work! 

 kagra 

dir. Riku TAKAHASHI /高橋李空 / DOKUZEN, 2’58” 

 melt 

dir. MARU AKARI, 30”, 2020-2023 

 Carrots Don’t Wait (ニンジンは待ってくれない / Ninjin wa Matte kurenai) 

dir. Lina MACHIDA / まちだリな, 7’36”, 2023

 The Point of Permanence (永久点 / Towa-ten) 

dir. Nana KAWABATA / 川畑那奈, 10’04”, 2024 New work! 

 #_ hashtag underber 

dir. MARU AKARI, 6’, 2022 

 Exhibition 

Aiko OKAMURA (岡村あい子) 

Yume-utsutsu 『夢現』 

Jiga『自我』　New work! 

Fukumi NAKAZAWA (中澤ふくみ) 

Kandokoro wo Zurasu『勘どころをずらす』　New work! 

New work! Tadaka ga Yonde iru『ただかが呼んでいる』 

On the Saturday at 14:00 there will be a Guest Talk Event with Yū ISEKI (井関悠), the curator of the Contemporary Art Center, Art Tower Mito, artist Hirotoshi IWASAKI (岩崎博俊), and dancer / choreographer Nobunashi KON (のばなしコン). On Sunday at 14:00 there will be a Talk Event with member of MOVOP.

Tickets are available via the Peatix app: 

https://movop-event.peatix.com/view  

 For more information visit the MOVOP website / social media: https://movopanimation5.wordpress.com/ 

https://www.instagram.com/movop_ 

https://twitter.com/movop_

Cathy Munroe Hotes

Resonance – A Selection of Japanese Animated Shorts

Resonance – A Selection of Japanese Animated Shorts

Sunday, 29 May 2022, 14:45

Naxos Cinema

Frankfurt am Main

https://db.nipponconnection.com/en/event/1032/resonance  

I am proud to announce my animation selection for this year’s Nippon Connection in Frankfurt am Main.  Unlike my friends and colleagues overseas, my cinema-going habits have not been infringed upon by pandemic restrictions… I have only missed out on many of the usual social activities in the animation community here in Japan.   Any pandemic depression has been alleviated by the beauty of the animation I have seen in the past year and my mind has been engaged by the compelling ideas that Japanese and Japan-based animators have been exploring through their work.

This selection represents the best of the films whose images and ideas resonated in my mind for weeks and months after seeing them.  YANO Homami’s compelling pointillist A Bite of the Bone (my review), the first animation produced by YAMAMURA Kōji’s Au Praxinoscope, has been collecting awards at festivals around the world including OIAF and DigiCon6.  Another former Geidai student of Yamamura, YUKI Yōko (幸洋子) has just released her new film produced by Au Praxinoscope: In the Big Yard inside the Teeny-Weeny Pocket (ミニミニポッケの大きな庭で, 2022) which I am hoping to see at the Hiroshima Animation Season.

We have shown films by Yano, IWASAKI Hirotoshi, TABATA Shizuki, KUDO Masa, KIM HakHyun, and HIRANO Ryō at Nippon Connection before and I am delighted that these artists are continuing to make such excellent work. Trigger warning for Hirano's Krasue - it has horror motifs and is not appropriate for children.

I discovered the work of SAKAKIBARA Sumito for the first time this year watching the New Chitose online selection.  Originally from Hokkaido, Sakakibara lives and works in Nagano Precture but got his animation training in the UK.  His use of colour in Iizuna Fair is quite fantastic and I love the slow tracking shot from right to left like the deliberate unfurling of a scroll – check out the trailer here.

YASHIRO Takeshi’s reputation for unique stop motion animation with a handmade feel has grown and grown since he started specializing the aesthetic in 2012.   His talents were recognized by his peers this year when he was awarded the Noburō Ōfuji Award at the Mainichi Film Awards for Pukkulapottas and Hours in the Forest.  The film experiments with stop motion using location timelapse photography (ロケコマ撮り/ Roke-komadori).

My thanks to the animators and to Florian Höhr for his hard work at Nippon Connection.

A Bite of the Bone / 骨嚙み / Honekami

YANO Homami / 矢野ほなみ / 2021

https://honamiyano.com/

10 min.

On Time Off Time

IWASAKI Hirotoshi / 岩崎宏俊 / 2020

https://hirotoshiiwasaki.com/

9 min. 8 sec.

Iizuna Fair / 飯縄縁日 / Iizuna Ennichi

SAKAKIBARA Sumito / 榊原澄人 / 2021

http://sumitosakakibara.com/

11 min. 32 sec.

Monorail 

TABATA Shizuko / 田端志津子 / 2020

https://vimeo.com/tabatashizuko

7 min 15 sec.

Still Life

KUDO Masa / 工藤 雅 / 2021

https://kudomasa.jimdofree.com/ 

3 min 30 sec.

RED TABLE

KIM HakHyun / キムハケン / 2021

https://twitter.com/hakennn 

7 min 22 sec.

Pukkulapottas and Hours in the Forest 

プックラポッタと森の時間 

Takeshi YASHIRO / 八代健志 / 2021

https://tecarat.jp/ 

15 min 27 sec

Krasue

HIRANO Ryō / ひらのりょう/ 2021

http://ryohirano.com/ 

http://foghorn.jp/ 

11 min 50 sec.

 2022 Catherine Munroe Hotes

Alteration Finds: A Selection of Japanese Animated Shorts

 

The pandemic has forced long periods of sameness upon us. These recent indie animated sorts challenge us to break free from lockdown apathy and look at the world from a new perspective.

 Die Covid-19-Pandemie hat uns lange Perioden der Eintönigkeit aufgezwungen. Zeit für einen Ausbruch: Diese animierten Kurzfilme fordern uns auf, die Lockdown-Apathie hinter uns zu lassen und die Welt aus neuen Perspektiven zu betrachten.

https://db.nipponconnection.com/de/event/1029/alteration-finds

I am pleased to announce that I have curated another independent animation short film programme for Nippon Connection together with festival director Florian Höhr.  Despite the challenges of the ongoing pandemic, I have been able to go to some festivals such as Image Forum Festival (IFF) and the Japan Media Arts Festival (JMAF), but they haven't had their usual vibe with the 3 Cs rules in effect ... particularly without the ability to go out to drink and chat with artists afterwards.  

In particular, I really miss gallery opening parties and film debut screening events, which are a great place to find out what people are working on at the moment.  In March, the graphic designer, musician and animator Hayoto NOVE invited me to the opening of his latest work Parallax (2021) in a gallery in Ginza.  We were limited to a maximum of 6 people per screening, but it was such a pleasure to at least be able to talk to the artist and his "team" (his wife & collaborator, the equally talented Tomoko NOBE).  Nove-san was concerned that with a run time of about half an hour, that the film might be a bit on the long side for an animated short, but I could tell him truthfully that I had not even noticed the length!  Nove's films tend to envelope me in their visual and soundscape so thoroughly that I am hardly aware of my surroundings.  These independent works are a real labour of love for Nove, and it is wonderful to follow him on his artistic journey.  Florian & I are so honoured that Nove-san has allowed us to have the world festival premiere of this most impressive work.  

I saw the indie animation legend Keita KUROSAKA's most recent animation The Living Wall (生きる壁, 2020) at IFF2020.  His masterpiece Midori-ko (2010) was a big success at NC2011 and this latest work does not disappoint.  

Another gem from IFF2020 is Masa KUDO's Difference and Repetition and Coffee (差異と反復とコーヒー, 2020).  Kudo is new to the animation scene but has an amazing future ahead of her. She grew up in Hokkaido where she graduated from Hokkaido Kyoiku University.  She also studied at the Image Forum film school which specialises in experimental film and animation.  The influence of IFF film school is very apparent in this film!

Geidai 2017 grad Ryotaro MIYAJIMA's first post-grad school independent film has found much success at animation festivals both at home and abroad. I first saw it at IFF2019, and have delighted whenever I have seen it on a screening programme.  Every time I watch this visual journey into the Sengoku Period, I catch another small detail I missed the first time.  It is a study of how to use movement and transitions masterfully in animation. 

Shunsaku HAYASHI brings his painterly magic to his animation films and I am so thrilled that we can include his latest work Leaking Life in our programme this year.  The film won Best Short Animation at the 24th Riga International Short Film Festival.  Hayashi-san first featured in one of my animation selections at NC2019 with Railment (2019).

The TamaGra (Tama University of Arts Graphic Design Department) animation programme has been producing really wonderful animators for the past couple of decades.  Isaku KANEKO's Locomotor (2019) and The Balloon Catcher demonstrate that he is someone to keep an eye on in the future. I was also quite taken by Tomoe OBAYASHI's Mubi (2019) and was compelled to include it in the programme.

Due to the ongoing covid-19 restrictions, Nippon Connection (June 1-6, 2021) will be hosted online again this year.  I am crestfallen for the festival, because part of its allure is all the in-person events, activities, and culinary delights.  On the other hand, the online forum means that the films can attract a larger audience than is possible with the limited seats of a cinema.  For rights reasons, this screening selection is region-restricted to Germany only. 

Booking information can be found here: 

https://db.nipponconnection.com/en/event/1029/alteration-finds

Keita Kurosaka 黒坂圭太

http://profile.musabi.ac.jp/page/KUROSAKA_Keita.html

The Living Wall 

生きる壁 

2020, 6 min. 

 Ryotaro Miyajima 宮嶋龍太郎

https://miyajimaryotaro.com/

 Castle 

 2019, 5 min. 

Shunsaku Hayashi 林俊作

https://shunsakuhayashi.com/ 

Leaking Life 

2019, 14 min. 32 sec. 

Masa Kudo 工藤雅 

https://vimeo.com/masakudo

Difference and Repetition and Coffee 

差異と反復とコーヒー 

2020, 4min. 33 sec. 

Isaku Kaneko 金子 勲矩 

The Balloon Catcher 

2020, 6min 

Isaku Kaneko 金子 勲矩

Locomotor 

2019, 3 min. 

Tomoe Obayashi 大林 知恵 

Mubi 

夢寐 

2019, 6 min. 

Hayato Nove 野辺ハヤト 

http://www.breathpiece.com/

parallax 

2021, 30 min.

2021 Cathy Munroe Hotes 

Transience – The Best of Recent Indie Animation

Transience – The Best of Recent Indie Animation
Nippon Connection
Saturday, June 1, 2019
14:15 in the Naxoshalle Kino
learn more

My animated shorts selection will be on Saturday at Nippon Connection this year instead of Sunday. This year’s selection features a couple of non-Japanese names. The Czech animator Vojtěch Domlátil, who works at the Jiří Barta studio in Pilsen, had a 2-month art residency at Youkobo Art Space in Tokyo in 2017. His work Fleeting Autumn, which he describes as “a collection of audio-visual haiku poems” was made during this residency. The Oscar-nominated stop motion animation Negative Space is co-directed by the Japanese-American animation team Ru Kuwahata and her husband Max Porter. Both of them studied animation in the Netherlands and the U.S. and the film is funded by a French studio.

The rest of the programme features a diverse range of animation styles from innovative Japanese artists. Some are already established in their careers, and others are just starting out. Every year brings astonishing new works from Japanese artists and it is my pleasure to be able to share some of them with you all again this year.

29 May 2019 Update: animator Ryōji Yamada, who is currently living in Germany, has informed us that he will be able to attend the screening. 

Fleeting Autumn
行く秋 / Yuku Aki
Vojtěch Domlátil /
ヴォイチェヒ・ドムラーチル
2018 / 8’

Hunter
Ryōji YAMADA / 山田遼志
2017, 8’47”

Harmonia featuring Makoto
ハルモニア feat. Makoto
Tarafu OTANI / 大谷 たらふ
2017, 3’49”

Negative Space
Ru KUWAHATA & Max PORTER
2017, 6’

Metamorphose
メタモルフォーゼ
Reiko YOKOSUKA / よこすかれいこ
2018, 3’46”

Shadow Wave
翳浪 / Kagenami
Takumi KATAOKA / 片岡拓海
2018, 5’55”

Water in the Cup
Ikuo KATO / 加藤郁夫
2018, 5’43”

Railment
Shunsaku HAYASHI
2017, 10’

Broke For Free – “Makin’ Moves”
Kohei NAKAMA
2017, 2’29”

A Snowflake into the Night
夜になった雪のはなし
Yoru ni natta Yuki no Hanashi
Yoko YUKI / 幸洋子
2018, 6’

Anywhere
何処かへ。/ Dokoka he.
Lyota TAKAHASHI / 高橋良太
2018, 6’55”

A Branch of a Pine is Tied Up
松が枝を結び / Matsuga Edawo Musubi
Tomoyasu MURATA / 村田朋泰
2017, 17’

2019 Catherine Munroe Hotes

Tomoyasu Murata: Stop Motion Master

Tomoyasu Murata: Stop Motion Master
Saturday, February 23, 3 PM, 5 PM and 7 PM

Japan Society
333 East 47th Street
New York, NY 10017
https://www.japansociety.org/event/tomoyasu-murata-stop-motion-master

SPECIAL SCREENING
North American Premiere

One of Japan's most prolific independent animation artists, Tomoyasu Murata (村田朋泰, b. 1974) has created breath-taking, boundary-breaking stop motion animated films over the last two decades. Initially inspired by the expressive power of traditional Japanese bunraku puppet theatre, Murata's films — at once tender, whimsical and mysterious — deal with themes of memory, absence and mujo (the Buddhist concept of impermanence) through the cinematic manipulation of his meticulously handcrafted puppets and fantastical miniature sets. The eight short films in this program range from the artist's award-winning student work to recent projects that respond to the Great East Japan Earthquake.

All films written, directed and animated by Tomoyasu Murata.

Nostalgia
睡蓮の人
Suiren no Hito
2000 / 16’

In Murata’s award-winning thesis work, which mourns the loss of a loved one, an elderly man’s daily routine is interrupted by a rediscovered fragment of a precious memory.

The Scarlet Road
朱の路
Ake no Michi
2002 / 14’

Part of Murata’s “Road” series, a sorrowful pianist on a journey meets a girl who gives him a vermillion flower in a tunnel connecting them to a world beyond.

Family Deck (Vol. 1, 5, 6)
家族デッキ
Kazoku Dekki
2007 / 15’

The Seven Lucky Gods (or kami, meaning both "hair" and "gods") live in the Takada’s barber shop in Tokyo—a set based on a real-life now-lost local store close to Murata’s heart—where they play charming tricks on the family of four.

Forest this Flower Blooms
木ノ花ノ咲クヤ森
Ki-no Hana-no Sakuya Mori
2015 / 11’

In the first episode in a series of films centred on The Great East Japan Earthquake, an amnesiac wolf traces his past and escapes from hunters who are after him in an eerily beautiful moonscape.

Ametsuchi
天地
Ametsuchi
2016 / 11’

The island repeats volcanic eruption after earthquake, smoke and glowing heat bubbling from the morphing surface—but when the tectonic activity recedes, all is sand and, finally, the miracle of water flowing, of life.

A Branch of a Pine is Tied Up
松が枝を結び
Matsuga Edawo Musubi
2017 / 17’

Twins are separated by the destructive earthquake and tsunami that ravaged Japan's Tohoku region in 2011, but with a swirling snow globe, they traverse the present and the past, the living and the dead: reconciling, remembering, and restoring.

Nippon Connection 2018 Animated Shorts 1: Moving Colors by Taku Team

The theme of my selection at Nippon Connection this year was music. As most of my readership is outside of Germany, I know that many of you were disappointed not to be able to see the screening. Fortunately, most of this year’s selection can be found uploaded by the animators or the people who commissioned the animations on their official platforms. This is the first in my series highlighting this year’s selection. I will embed each video and give a little background about the artists involved.

Moving Colors from Decovocal on Vimeo.

The first work in the programme, Moving Colors, is a group project featuring the work of 12 animation creators (aka Taku Team). It is a tribute to the animator Taku Furukawa (古川タク, b. 1941) by young artists who were mentored by him at Tokyo Polytechnic University’s undergraduate animation programme. Each team member in this collaboration represents their favourite colour. The title design is by Furukawa himself. The team features: Takuma Hashitani (orange), Waboku (aka Wataru Nakajima, brown), Hakhyun Kim (purple) Yoshiyuki Kaneko (black), Shiho Morita (red), Moe Koyano (raspberry/turquoise), Yū Tamura (green), Yasuaki Honda (crimson), Yewon Kim (mint), Tomoyoshi Joko (blue) and Hiroco Ichinose (gold). The animations by the various creators were then edited together in a dynamic way by “Taku Team” with Tomoyoshi Joko of Decovocal as the creative director. The music is performed by Tomohiro Higashikinjō, Toyomi Kobayashi and Ryusaku Ikezawa.

Furukawa's Tyo Story (上京物語, 1999)

I chose this piece for Nippon Connection 2018 because it is a celebration of music and motion – something central to the aesthetic of the artist it celebrates. Taku Furukawa is an independent animation pioneer in Japan. He was first mentored by the animation iconoclast Yōji Kuri (久里洋二, b.1928) in the early 1960s but then went on to international acclaim for his own independent shorts. I have reviewed many of his works over the years including: Phenakistiscope (驚き盤, 1975), Nice to See You (ナイス・トゥ・スィ・ユー, 1975), and Tyo Story (上京物語 / Jyōkyō Monogatari, 1999).

 He is also well known in Japan for his prolific contributions to the long running Minna no Uta (みんなのうた / Everyone’s Song, 1961-present) series on the public broadcaster NHK. Since the passing of puppet animator Kihachirō Kawamoto, he has been the president of the Japanese Animation Association (JAA). He is known for collaborating with other artists such as his projects with the collective G9+1 and his prolific series of short shorts (chōtanpen / 超短編) with the composer Jun Sakurai (桜井順, b.1934) called One Phrase Theatre / ヒトコト劇場 (You Tube Playlist).

 There is no story in this piece, rather the overarching theme of “colour” (the title uses the American spelling, which is taught in Japan. This blog is written in Canadian English). Each of the animators (they call themselves “creators” in their explanatory notes) made a short inspired by the music and their selected colour. If you are familiar with the work of these artists (I believe they have all had works screened at Nippon Connection over the years), you will be able to recognise their distinctive artistic styles immediately. As a visual guide, I have taken some screencaps from the credits to act as your guide:

Cathy Munroe Hotes 2018

1964: Best Japanese Animated Shorts

Year in Review

1964 was the year that saw animation combined with live action in Disney’s Mary Poppins (Robert Stevenson) and the release of the first Pink Panther short The Pink Phink (Friz Frelang/Hawley Pratt). In Japan, Mushi Pro tried to make more money from their budding Astro Boy franchise by editing together three episodes of the popular TV series into a feature film called Astro Boy: Hero of Space (鉄腕アトム 宇宙の勇者/ Tetsuwan Atom: Uchū no Yūsha, 1964). They jazzed things up for the cinematic release by adding colour to the sections of the film adapted from episodes 56 and 71. Rintarō (who was still using his real name, Shigeyuki Hayashi), Yoshitake Suzuki, and Eiichi Yamamoto are credited as directors.

The career of stop motion animation pioneer Tadahito “Tad” Mochinaga reached a pinnacle with the release of the Rankin/Bass TV special Rudolph the Red-Nosed Reindeer (Larry Roemer) (Learn more). While the story and character designs were all conceived of in the United States, Mochinaga’s MOM Productions made and animated the puppets. Since its debut on NBC on December 6, 1964, it has been televised annually becoming the longest continuously running Christmas TV special in the United States.

The independent animation scene was blossoming in Tokyo and the Animation Group of Three (アニメーション三人の会) expanded into an Animation Festival (アニメーション・フェスティバル) which ran from September 11-26 at the Sōgestu Cinematheque 11 (草月シネマテーク１１). From my research so far, the films that screened at the festival that year included:

The Button (ザ・バタン , Yōji Kuri, 1963)
Man, Woman and Dog (男と女と犬, Yōji Kuri, 1963)
Ring Ring Boy (リングリングボーイ , Yōji Kuri, 1963)
AOS (アオス, Yōji Kuri, 1964)
Moon Story (月のはなし, Ryōhei Yanagihara, 1964)
The Strange Tale of Ichinosuke (女一条助異聞, Ryōhei Yanagihara, 1964)
Submarine Cassiopeia (潜水艦カシオペア, Hiroshi Manabe, 1964)
Memory (メモリー, Osamu Tezuka)
Mermaid (人形, Osamu Tezuka) La fête blanche (白い祭, Akira Ono, 1964)
Anthology, No. 1 (アンソロジーNO.1, Tadanari Yokoo, 1964)
Kiss Kiss Kiss (Tadanari Yokoo, 1964)
Murder (Makoto Wada, 1964)
Bon Bon Bon (ボン・ボン・ボン, Hayashi Masamichi)
Zuraw (Daitaku Furukawa - better known today as Taku Furukawa)
Night on Bald Mountain (禿山の一夜, Alexander Alexeieff, 1933)
Faces and Fortunes (Morton Goldsholl, 1959) (watch: Chicago Film Archives)
Dissent Illusion (Morton Goldsholl, 1963) (watch: Chicago Film Archives)

Although she is not mentioned on the Japanese programme notes, the experimental film Dissent Illusion was co-directed by Mort’s wife Millie Goldsholl (1920-2012), who also wrote Faces and Fortunes. Millie ran the film division of the family’s Chicago-based design firm Morton Goldsholl Associates. Her animation Up is Down (1969) is a rare anti-war gem. Night on Bald Mountain was, of course, co-produced by his wife Claire Parker. 

This was also a significant in the career of independent Japanese animator Fusako Yusaki (湯崎夫沙子, b. 1937). In 1964, she moved to Milan to study sculpture and found that clay animation was her métier. Her first films were made in the early 1970s and she is now considered one of the pioneers of stop motion animation in Italy.

The winner of the Noburō Ōfuji Award for 1964 was Makoto Wada (和田誠, b. 1936) for his droll hand drawn animated short Murder (click here to learn more). These days Wada is best known for his illustrated book covers and movie-themed art.


Best Japanese Animated Shorts of 1964:

 Satsujin – Murder
殺人 Murder

1964年 
Makoto Wada (和田誠, b. 1936) 

10'
read review

Tokuten Eizou Anthology No. 1

特典映像　アンソロジーNO.1

1964年 /7'

Tadanari YOKOO (横尾忠則, b. 1936)

KISS KISS KISS

1964年 /2'

Tadanari YOKOO

Submarine Cassiopeia

潜水艦カシオペア

Sensuikan Kashiopea

1964年 / 3’

Hiroshi MANABE

The Chair

椅子　

Isu

1964年 /10’

Yōji KURI (久里洋二, b. 1928)

AOS

アオス　

1964年 /9'

 Yōji KURI

Mermaid

人魚

Ningyo

1964年 /8'

Osamu TEZUKA

Memory

めもりい

Memorii

1964年 /6'

Osamu TEZUKA

Shiroi Matsuri: La fȇte blanche

白い祭　La fete blanche

シロイマツリ　ラ・フェット・ブランシェ

Aquirax UNO (aka Akira UNO / 宇野亜喜良, b. 1934)

The Crying Red Giant

泣いた赤おに

Naita Aka Oni

1964年 /17'

 





Moon Story 
月のはなし
Tsuki no hanashi 
Ryōhei Yanagihara (やなぎはら りょうへい, 1931-2015)
1964年 /6'




The Strange Tale of Ichinosuke 
  女一条助異聞
Ryōhei Yanagihara
1964年 /7'






Cathy Munroe Hotes 2018