Keeping Japanese punk film (A)LIVE: Shôzin Fukui's concert-screening hybridity and Japanese live house culture

Player, M. ORCID: https://orcid.org/0000-0002-8785-488X (2021) Keeping Japanese punk film (A)LIVE: Shôzin Fukui's concert-screening hybridity and Japanese live house culture. In: Grimes, M., Bestley, R., Dines, M. and Guerra, P. (eds.) Punk Identities, Punk Utopias: Global Punk and Media. Global Punk. Intellect, Bristol, pp. 143-162. ISBN 9781789384123

Abstract/Summary

This chapter explores the DIY film exhibition practices of Japanese punk filmmaker Shozin Fukui, which mixed film projection and live music technologies to create an 'explosive sound screening' (bakuon joei). This was done to bring, in Fukui's words, a 'live feeling' to his films. This chapter historicises the emergence of Fukui's desire to bring 'live feeling' to his films, leading up to the 'explosive sound screening' run of his first feature Pinocchio 964 at Tokyo's Nakano Musashino Hall in 1991. It then considers Fukui's more recent attempts at trying to close the gap between film and live performance in the form of improvised VJ-ing (video jockey) performance, which typically take place in live houses.