"陽光の最初の一閃が射し込み、浅い眠りの襞を静かに揺らすと、そこに一つの落書が出現する。" 　　高柳誠原作の「落書」を本人が朗読、折笠良がアニメーションを手がけた。 　　現代の日本文学とアニメーションのコラボレーション企画「文学ビデオ」の第二弾。 　　文・声：高柳誠 　　監督・映像：折笠良 　　音響監督：滝野ますみ 　　音響ミキシング：アオイスタジオ 　　小林蒼、中嶋克 　　音声録音：早稲田大学国際文学館 、深澤大青 　　文学ビデオ２ 　　原作：高柳誠 「落書」1999年 　　（高柳誠 『夢々忘るる勿れ』 装画 三嶋典東 書肆山田、2001年） 　　企画・英訳：マイケル・エメリック 　　プロデューサー：折笠良 　　柳井イニシアティブ　プロジェクトマネージャー：上甲由美、山嵜早苗 　　製作：早稲田大学+UCLA連携　柳井イニシアティブ 　　* 　　The moment the first gleam of sunlight trickled in gently stirring the folds of a shallow sleep… that was when the graffiti appeared. The film brings a prose poem by Makoto Takayanagi to life, read here by the poet himself.

"陽光の最初の一閃が射し込み、浅い眠りの襞を静かに揺らすと、そこに一つの落書が出現する。" 　　高柳誠原作の「落書」を本人が朗読、折笠良がアニメーションを手がけた。 　　現代の日本文学とアニメーションのコラボレーション企画「文学ビデオ」の第二弾。 　　文・声：高柳誠 　　監督・映像：折笠良 　　音響監督：滝野ますみ 　　音響ミキシング：アオイスタジオ 　　小林蒼、中嶋克 　　音声録音：早稲田大学国際文学館 、深澤大青 　　文学ビデオ２ 　　原作：高柳誠 「落書」1999年 　　（高柳誠 『夢々忘るる勿れ』 装画 三嶋典東 書肆山田、2001年） 　　企画・英訳：マイケル・エメリック 　　プロデューサー：折笠良 　　柳井イニシアティブ　プロジェクトマネージャー：上甲由美、山嵜早苗 　　製作：早稲田大学+UCLA連携　柳井イニシアティブ 　　* 　　The moment the first gleam of sunlight trickled in gently stirring the folds of a shallow sleep… that was when the graffiti appeared. The film brings a prose poem by Makoto Takayanagi to life, read here by the poet himself.

已完成粗剪，山形电影节试映。

《古典宝宝》是一部令人愉快的动画节目，包含了一系列的短片，每一个短片都以精美的画作为特色，配合着轻松活泼的音乐和动画效果，将艺术作品栩栩如生地呈现在孩子们的眼前。

《古典宝宝》是一部令人愉快的动画节目，包含了一系列的短片，每一个短片都以精美的画作为特色，配合着轻松活泼的音乐和动画效果，将艺术作品栩栩如生地呈现在孩子们的眼前。

What are a few references among friends? But for Cal and his circle, it’s hardly a few. They barely conduct a single conversation that doesn’t revolve around architecture, literature, theology, history. Each set of ideas leads seamlessly into the next, until the flow they form is endless, there are always more footnotes, theoretical perspectives, cantos, translations to cite, so many ways of keeping everyday life at bay. When Cal, Evelyn, Chris et al. exchange all this absurdly specific knowledge, they do so with such earnest relentlessness that it’s hard to suppress a smile, although melancholy is never far away. Cal is frequently by himself, turning pages in silence in shadowy rooms, while Evelyn paces the streets of Philadelphia when she can’t sleep, at night, alone. Even when the group gets together, they often remain apart in the frame with no wider shot to connect them, one face holds forth, another stays silent, are they even in the same place at all? Evelyn wishes it were possible to speak more directly, but perhaps that’s the defining feature of the period, not the classical one, this one. You speak, you listen, there’s nothing in between.

What are a few references among friends? But for Cal and his circle, it’s hardly a few. They barely conduct a single conversation that doesn’t revolve around architecture, literature, theology, history. Each set of ideas leads seamlessly into the next, until the flow they form is endless, there are always more footnotes, theoretical perspectives, cantos, translations to cite, so many ways of keeping everyday life at bay. When Cal, Evelyn, Chris et al. exchange all this absurdly specific knowledge, they do so with such earnest relentlessness that it’s hard to suppress a smile, although melancholy is never far away. Cal is frequently by himself, turning pages in silence in shadowy rooms, while Evelyn paces the streets of Philadelphia when she can’t sleep, at night, alone. Even when the group gets together, they often remain apart in the frame with no wider shot to connect them, one face holds forth, another stays silent, are they even in the same place at all? Evelyn wishes it were possible to speak more directly, but perhaps that’s the defining feature of the period, not the classical one, this one. You speak, you listen, there’s nothing in between.

The movie tells the story of Imri, who at 19 goes to live in Tel- Aviv, but dreams of moving to Japan. Through his relationships and encounters and in diverse cinematic tools, we are introduced to the young man's life. An exploration of living in the exotic city of Tel Aviv is presented through a hero who is himself in the midst of exploring his own choice of an exotic place. A unique correlation is formed between the hero's misconception of Japan and ours of him. 　　The movie was constructed by both improvised and pre-scripted scenes, as required by the nature of each scene.

The movie tells the story of Imri, who at 19 goes to live in Tel- Aviv, but dreams of moving to Japan. Through his relationships and encounters and in diverse cinematic tools, we are introduced to the young man's life. An exploration of living in the exotic city of Tel Aviv is presented through a hero who is himself in the midst of exploring his own choice of an exotic place. A unique correlation is formed between the hero's misconception of Japan and ours of him. 　　The movie was constructed by both improvised and pre-scripted scenes, as required by the nature of each scene.

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