More than 100 yeras have passed since the invention of the Kinetograph and the Cinematographe. Where is the the cinematic medium heading for now?

  1. The Cinematographe and 100 years of cinema: Some reasons why the Cinematographe spread so rapidly over the world at the beginning of this century.

  2. Reproduced Cinema : As film is being reproduced by the other image-making media such as television, video and computer-graphics, the classic idea of cinema is changing.

  3. Mixed Cinema : Now that a film image can be mixed with a different kind of image produced by, for example, electronic technology, some major themes in the film theory will probably change.

  4. Quotation / Circulation / Manupilation : A steady increase in mixed and reproduced cinema is altering the one-way relationship between the image-maker and the image-reciever. The characteristics of this situation may be summarized by three words - quotation/circulation/manupilation.

  5. Appraising the legacy of classic cinema. A reexamination of Japanese cinema is needed in order to place it within the history of world cinema.

  En 1960, lors de sa visite au Japon, André Malraux a apporté des copies des premiers films tournés au Japon et consérvés en France. Ces films sont actuellement dans les Archives du Natinal Film Center au Musée National d'Art Moderne de Tokyo et répertoriés sous le titre "Le Japon de l'ère Meiji" Personne, à notre connaisance, n'a encore examiné s'il s'agit vraiment des films Lumière ni cherché à établir les conditions de tournage ainsi que l'identité des différents opérateurs. Cette étude est donc la première tentative pour situer "Le Japon de l'ére Meiji" dans le contexte des films Lumière.

  Nous avons d'abord comparé ces vingt-neuf films aux prises de vues japonaises des films Lumières conservées en France. Les deux versions se ressemblent à une importante différence près: la version japonaise n'est pas du tout présentée dans I'ordre du catalogue Lumière et, en plus elle est amputée de quatre films.

  Nous avons pu vérifier qu'au moins deux opérateurs français, Gabriel Veyre et Constant Girel avaient tourné ces films. C'est en janvier 1897 que INABATA Katsutaro a importé le cinématographe au Japon; il était accompagné de Constant Girel qui restera jusqu'en octobre de la même année. Gabriel Veyre arrive en octobre 1898 et restra jusqu'en mars 1899. Les dix films de 733 à 742 dans le catalogue Lumiére ont été tournés par Girel tandis que dix autres de 1021 à 1030 ｌ'ont été par Veyre. Nous ne savons pas encore qui a tourné les films de 925 à 985.

  'Espace Raynaud' was exhibited at the Biennale di Venezia 1993, in the French pavilion. This work is constructed, all over the wall of the room, with many tile-plates of which showed the photo-images of skull each. Andy Warhol had already made such work, consisted with the repitition of skull images. Such image of skull have been drawn in European art repeatedly. One characteristic superposition of this image seems to appear in this 'Espace'. Photography is work of repetition in its essence. Photography, repetition of image of the world, may be also repetition of works of its own, because it could be copied. So we see a multiplicity of repetition. 'Espace' violate drastically the custom that art work should be original one. And 'Espace' is total spacial work of tiles inside three dimensional room. Linda Hutcheon says that modern art forms seem to refer to and reproduce themselves. She called this trend 'Parody'. Is 'Espace' Parody in its repetition of previous styles of art works, and structural modeling process? Hutcheon says that Parody address to "text's situation in the world" finally. 'Espace' address to the world as one ironical work the function of repetitive photo-image.

  This report writes about the computer graphics system which generates 3 dimensional computer graphics driven by music in real-time. The motivation of this research was "What can I do to generate images for all kind of music in real-time?"

  The approach was made aesthetically and technically.

 - One of the interpretation of music is to 'show' the tone and dynamics.

 - Graphical interpretation shuld be abstract for all kind of music.

 - User interface should be musical keyboard or drum pad or some kinds of instrument.

 - Performance information should be processed in real-time.

  The reaction should be caused in 0.1 sec.

  The drawing speed should be 10 Hz in the least. Generally, needs 30 Hz or higher.

  The system "Sound Visualizer" was developed under the research.

  The system specification:

 (1) Accepts MIDI signals and generates 3D CG 'Sound Objects' in real-time.

    The Sound Objects expresses musical dynamics in real-time.

    The drawing frame rate is over 30 Hz.

 (2) Has fast drawing algorithm using parallel processor computer SGI/Onix.

 (3) Provides virtual reality environment with musicians.

    Some musicmans said "This is really fun."