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Director, Photography, Editing, Sound: Oki Hiroyuki
Music: Imai Tsutomu, Yoshino Hiroshi, Saito Tetsu,
Joëlle L?andre, Imahori Tsuneo, Shichiseikai
Producer: Echigoya Takashi
Production Company: Image Forum
Fudosan Kaikan Bldg. 6F, 3-5 Yotsuya
Shinjuku-ku, Tokyo 160-0004 JAPAN
Phone: 81-3-3357-8023 / Fax: 81-3-3359-7532
Source: Aichi Arts Center
1-13-2 Higashi-Sakura
Higashi-ku, Nagoya, Aichi 461-0005 JAPAN
Phone: 81-52-971-5511 / Fax: 81-52-971-5644
JAPAN / 1997 / Japanese / Color / 16mm / 82 min

Oki Hiroyuki

Born in Tokyo in 1964. Graduated from the Architectural Department of the Faculty of Engineering of Tokyo University in 1988. Studied film production at the Image Forum Institute of the Moving Image and was recognized for his 3 hour long thesis film The Film of Buddy Matsumae ("Matsumae-kun no eiga," 1989). His film Swimming Prohibited ("Yuei Kinshi," 1989) won the Special Juror's Prize at the 1990 Image Forum Festival. Moved to Kochi city in 1991, and in 1992 directed the Jurgen Brunning production Tarch Trip ("Tachi torippu," 1993). Directed his first 35mm fiction film I Like You, I Like You Very Much ("Anata ga suki desu, daisuki desu") in 1994. In 1996 his Heaven-6- Box, a production of the Kochi Museum of Art, was given a NETPAC Special Mention at the 1995 Berlin International Film Festival. Recently he has been involved in live music sampling at screenings of his work.


Despite its uncomplicated composition as a film recording 82 minutes of performance art in a single continuous shot with a mini-cam, 3+1 is a colorfully work expressive. This is due to the film's multi-layered structure born of the filmmaker being performer, documentarian, and also the creator of the images we see projected onto the stage itself. Rather than being separated, these levels are beautifully integrated into one work. 3+1 is somewhat different from the quiet and instropective tone of Oki's previous films. Lively images take us from dressing rooms to audience to stage. It is a radical departure from the techniques of conventional live performance documentaries. Technically speaking, at a time when we are being flooded with digital image effects, this film reverses some of the nasty habits of personal video cameras and in so doing is extremely innovative.
--Masuya Shuichi

Director's Statement

At the same time as I was in charge of the moving image section of the collaborative performance "Hill of Ships, Stage of Water" (performed on September 24th, 1996). As a record of the performance, I also produced the sixth original piece in the Aichi Arts Center series. The commission first came to me in this mixed format. In one sense such a work is complicated, and to other directors it would probably seem like a really difficult plan to execute, but since at that time I was interested in live performance, or shall I say the relationship between the stage and film, I really wanted to do it. I thought it seemed really interesting. However, the truth is, I began without knowing what form it would take. Then the image of "3+1" came to me with the idea of shooting on location in Okinawa, Kochi, and Nagoya and adding images of the public performance. Having been involved in the process of constructing the performance, I feel that whilst the images from both the live performance and the film were brought together in a multiplicity of ways, what we wound up with is actually a movie that is structurally very simple.

Edited excerpt from AAC, Aichi Arts Center publicity journal, No. 20.


Yamagata International Documentary Film Festival Organizing Committee