DELUXE TWO-DISC EDITION 　　AVANT-GARDE 3 EXPERIMENTAL CINEMA 1922-1954 　　CAVALCANTI MAAS PETERSON BROUGHTON BUTE KESSLER WHITNEY KIRSANOFF MURPHY MARC'O WATSON HUFF 　　From THE Collection of THE GEORGE EASTMAN HOUSE AND FROM THE RAYMOND ROHAUER COLLECTION 　　From the little theaters of the 1920s to the ad hoc film societies of the '50s, avant-garde cinema knew no established form and held no predictable position. The boundaries of its history are still hotly debated, but its rough sensibilities informed and permeated the city symphonies of Alberto Cavalcanti, the visual music of Mary Ellen Bute and John Whitney, the classroom films of Sidney Peterson, the confessional film poems of Willard Maas and John E. Schmitz, the Lettrist cinema of Marc'O, and even marginal exploitation films and home movies. Drawn from the rich collections of Raymond Rohauer and the George Eastman House, Kino's third volume of experimental films continues to illuminate the degree to which cinema's evolution has been influenced by those filmmakers who occupy its periphery.

DELUXE TWO-DISC EDITION 　　AVANT-GARDE 3 EXPERIMENTAL CINEMA 1922-1954 　　CAVALCANTI MAAS PETERSON BROUGHTON BUTE KESSLER WHITNEY KIRSANOFF MURPHY MARC'O WATSON HUFF 　　From THE Collection of THE GEORGE EASTMAN HOUSE AND FROM THE RAYMOND ROHAUER COLLECTION 　　From the little theaters of the 1920s to the ad hoc film societies of the '50s, avant-garde cinema knew no established form and held no predictable position. The boundaries of its history are still hotly debated, but its rough sensibilities informed and permeated the city symphonies of Alberto Cavalcanti, the visual music of Mary Ellen Bute and John Whitney, the classroom films of Sidney Peterson, the confessional film poems of Willard Maas and John E. Schmitz, the Lettrist cinema of Marc'O, and even marginal exploitation films and home movies. Drawn from the rich collections of Raymond Rohauer and the George Eastman House, Kino's third volume of experimental films continues to illuminate the degree to which cinema's evolution has been influenced by those filmmakers who occupy its periphery.

代表作为《攻壳机动队》等系列神作的神山健治正式公开了他最新一部作品的题目——《XiAVANT》，并在2月25日的电影《攻壳机动队SCSSS3D》的试映会上进行发表，将会以动画短篇的形式公开。本作的题目“Xi”取自2010年12月24日开始正式运行，由著名手机公司docomo提供的次时代通信LTE服务的概念，docomo以这次通信服务为契机，建立了一个以世界为目标的名为“XiPROJECT”的企划案，并请来长期活跃与广告与艺术领域的艺术创作家秋山具义和世界瞩目的著名动画监督神山健治强强联手，为这个次时代企划的推进献一份力。by:m.yakubd.cc

代表作为《攻壳机动队》等系列神作的神山健治正式公开了他最新一部作品的题目——《Xi AVANT》，并在2月25日的电影《攻壳机动队 S.A.C SSS 3D》的试映会上进行发表，将会以动画短篇的形式公开。本作的题目“Xi”取自2010年12月24日开始正式运行，由著名手机公司docomo提供的次时代通信LTE服务的概念名。docomo以这次通信服务为契机，建立了一个以世界为目标的名为“Xi PROJECT”的企划案，并请来长期活跃与广告与艺术领域的艺术创作家秋山具义和世界瞩目的著名动画监督神山健治强强联手，为这个次时代企划的推进献一份力。

Paris, October 1948. Nino, Gilles, Donald, Barbara and their friends are a new breed of spectators. They discover the cinema as art, they are moviegoers. They will try to realize their grand project: to found a film club. "My film first wants to be a testimony of young people who have lived for a passion. Cinema"

Haruko lands a job in a local tutoring establishment and upon showing up for work on the first day, she discovers that she will not be teaching Japanese people, but teaching people Japanese. Her students are all foreigners who live in Japan for several reasons, and she is faced with their many questions on the Japanese Language that she'd never really thought of before.

30-year-old Kakioka Tetsuro returns home for the first time in 10 years to save his family’s traditional inn Niji no Ya after he hears that his father has been hospitalized. But he is lost for words when he sees that it has completely changed. The dignity and service of the inn, which boasts a 100-year heritage, has totally vanished. It has transformed into a haunt where employees who are not easy to deal with linger around. There is Terakado Lucy Kazuko, a flamenco dancer who says a stream of offensive things; Kageshima Shunsaku, a germaphobe manager who hates hot springs; Asatsuki Momoyo, the head waitress who is a single mother devoted to her son Ringoro; Ringoro, a boyish employee who loves his mother and unicycle; Uno Kanata, a chef who has a UNO addiction; and Umekoshi Hifuji, an old-timer who has clung on to the inn for 40 years.

With the use of expressionist cutting and lyrical movement, KNOUT concentrates on a young woman who sets down to the task of tying rope. She meets a doppelganger version of herself, and a vicious confrontation of self occurs.

With the use of expressionist cutting and lyrical movement, KNOUT concentrates on a young woman who sets down to the task of tying rope. She meets a doppelganger version of herself, and a vicious confrontation of self occurs.

Japanese culture - especially the popular music scene - can be a surprising, often disorienting crazy quilt of austere, ancient traditions, futuristic experimental music and crass, glitzy pop. Adding to the mix is the fervent embrace by Japanese of such foreign music styles as rock, blues, jazz and even country music, not merely as fans but as tenacious practioners.