At Karuizawa 1 (Mako Idemitsu, 1979): This filmmaker continually travels back and forth between the U.S. and Japan, filming in America with a characteristically Japanese eye, yet filming in her native country with the eye of a Westerner. Water Flowers (Nobuhiro Aihara, 1982): Although a professional animator by trade, Nobuhiro Aihara finds challenge in making films that have no place in the commercial animation industry. Dim (IKIF/Ishida-Kifune Image Factory, Sonoko Ishida & Tokumitsu Kifune, 1984): This animated piece was made with a special ink that disappears immediately. Ghost (Takashi Ito, 1984): The maker of Spacy (Program 1), a piece which uses still images, here uses time exposure to create uncanny imagery. Focusing (Itaru Kato, 1984): Instead of focusing by means of moving the lens, Kato constructed a special box for his camera so that focusing was achieved by moving the camera itself. Xenoparasitisme (Akihiko Morishita, 1982): It is common enough to make a film by scratching into the film's surface; this playful piece is the artist's response to the work of Paul Sharits. Step on the Shadow (Isao Kota, 1983): This artist's previous work is primarily concerned with rephotographed imagery; for this piece he chose to go out into natural surroundings and take images directly from life. Morphology (Eiki Kamibayashi, 1983): Kamibayashi seeks for beauty of form in human activity in this work, using well-trained dancers as actors. Ammonite's Fan (Isao Yamada, 1983): Yamada is a former member of Shuji Terayama's theater group Tenjo Sajiki. Here is a rare example of a Japanese experimental filmmaker whose influence stems from literature. “B” Continued (Nobuhiro Kawanaka, 1984): “I am deeply involved in human memory and the feeling of nostalgia brought about by time. For this piece, my challenge was to observe time within the frame” (N.K.). Program notes by Nobuhiro Kawanaka