Japanese artist Kazuhiro Goshima discusses film, movies and everything in between:

The title of your piece is “This May Not Be a Movie” — in what sense?

Because there aren’t any frames in it. The whole theme behind the piece is to ask, what exactly is a “normal” movie?

What do you think is the difference between dōga (moving images) and eiga (films)?

There are a number of different ways of saying eiga and dōga in English — movie, film, motion picture, cinema and so on — with each of those meanings rooted in different cultures. I think this is something that is very interesting. The same word can express different mechanisms and content, media and experiences, and even culture itself. Of course, they have different dictionary definitions, which is interesting in itself. In Japanese “dōga” is said to be a translational equivalent to “animation.” You can also interpret live-action films — which are composited from still frames — as a type of ‘animation’ too.

What led you to make a “motion picture” in its literal sense?

The reason behind this work is that the definitions of eiga, animation and so forth are so vague, which is something I found interesting.

When you think about the fuzziness of meaning of the wider application of eiga in its broad conceptual sense, you realize that it is the product of multiple mechanisms. I created one mechanism that pushes it to its limit in one direction, and by doing so I hoped to expand the breadth of its conceptualization. That’s why although the title is “This May Not Be a Movie,” its real message is “It’s possible to alter the meaning of ‘movie’ any number of times.”

It’s said that, in general, people can’t “see” over 66 frames per second. Do you think that the way we will interpret moving images will change with the advancements of technology?

The flipside of the benefits of high-frame rates is that 24 frames per second also has its own lasting charm. When you need to make split-second judgements like in a game, then the benefits of using 120 frames per second are certainly valid . . . and practical. Because of the sheer amount of information in 4K and high-frame rate videos, sometimes the amount of information it transmits actually “exceeds” reality; we experience a sort of optical illusion, as if memories are being directly written into our brains. I am interested in the newness of such a sensation, but it also makes me uneasy in some ways — as if we are selling ourselves over to a point where our own volition is ignored.

When we watch old, blurry films, the limited information that it transmits stimulates the powers of our imagination instead. With ultra-detailed, high-density visuals, we are often compelled into experiencing it physically, with no room to use our imaginations. Depending on the artist’s intention, I think it will be possible to expand both types of interpretation of film. I’ve consistently been considering making a work based solely around the theme of 4K 60 frames per second, utilizing the special characteristics of 4K, 8K and high-frame rate technology.

For more information, visit www.goshiman.com.

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