東京藝術大学大学院映像研究科映画専攻

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  • EN
  • The aim of the Department of Film Production is to foster creators of narrative film works that will be accepted internationally, or to nurture movie production engineers who have advanced expertise and an artistic sensibility.

  • In this department, there are seven courses(Directing, Screenwriting, Producing, Cinematography,Art Directing, Sound Designing, and Editing courses).

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Fostering a high level of technical know-how and artistic sensibility

The aim of the Department of Film Production is tofoster creators of narrative film works that will beaccepted internationally, or to nurture movie productionengineers who have advanced expertise and an artisticsensibility. In this department, there are seven courses(Directing, Screenwriting, Producing, Cinematography,Art Directing, Sound Designing, and Editing courses).These divisions correspond to the functional division inan international commercial film, and by entering theDepartment of Film Production students will naturallystudy a filmmaking process similar to the professionalprocess. The axis of the curriculum is the actual filmproduction, and students produce several films - chieflydramas - annually, from short stories to longer pieces,as practice. Additionally, production costs are providedas practice expenses according to the scale of eachfilm. It is also possible to establish relations with film society after students complete the course through their experience at professional production sites or in joint production work with overseas educational institutions and internships.
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Towards the creation of a new film production system

The movie industry is in the midst of a “digital movie revolution” characterized by a shift “from film to image data.” As an event this is equal in magnitude to the “sound revolution,” which involved a shift “from silent movies to talkies.” The Department of Film Production was quick to respond to this new era in filmmaking by introducing a “digital cinema production system” in which everything from shooting to screening is done digitally. In addition, the department has recognized that there is a trend towards the amalgamation of the functional classifications (fields of expertise) in todayʼs film production system. Because it encompasses as courses nearly all of the existing functions in film making and has adopted a cross-disciplinary approach in terms of both personnel and technology, the Department of Film Production is more than capable of adapting to this new era in terms not only of “hard” aspects such as equipment but also of “soft” aspects such as personnel and expertise. While in Japan the art and music industries, for example, have benefited from the establishment of educational and promotional systems from the early Meiji period, the film and video industry has evolved virtually without any connection to educational institutions. Today, however, one could say that the film and video industry has reached a major turning point as it deals with the “digital movie revolution.” Now more than ever, educational institutions that take a neutral position with respect to economic activity should be able to play an active role. In this respect, collaboration between businesses and universities with respect to movies is only just beginning.

修了生の進路

シネバザールキャスティング分室、スターダストピクチャーズ、博報堂DYメディアパートナーズ、トリクスタ(起業)、オーディトリウム渋 谷、ラピュタ阿佐ヶ谷、電通、読売広告社、テレビ朝日、アスミック・エース、トランスフォーマー、アオイスタジオ、アルカブース、ファント ム・フィルム、メディア・ファクトリー、 イメージスタジオ・イチマルキュウ、ミコット・エンド・バサラ、ピクト、キュレイターズ、ミューズ、任天堂、川口市映像・情報メディアセン ター、東京都写真美術館、東京国立近代美術館フィルムセンター、ライトニング、ディレクションズ、拓殖大学、武蔵野美術大学

FILM EXPRESSION TECHNOLOGY COURSE

  • DIRECTING COURSE
  • SCREENWRITING COURSE
  • PRODUCING COURSE

Directing Course

It wears the understanding and judgment and writers against movie sensuously.


A film director has a definite influence on the production where film making is a joint effort of a specialist group. e students in the Directing Course broaden their understanding of movies through classes and seminars, developing judgment on-set through practice work, and acquiring a sense of how to reflect their individual character into the film production which cannot be self-produced.

  • Kiyoshi Kurosawa

    Born in 1955. He has been pursing creative activities since he began making 8mm movies as a university student, and has directed a total of 38 movies spanning different genres. His most well-known titles include Cure, Charisma, and Bright Future, among others. Pulse won the International Federation of Film Critics Prize at the 54th Cannes Film Festival. Tokyo Sonata won the Un Certain Regard Jury Prize at the 61st Cannes Film Festival. His works are highly acclaimed internationally, and have been introduced frequently in special programs around the world. Additionally, he has written Eiga wa osoroshii (Movies Are Scary) and other books on film, and has novelized several movies.

  • Nobuhiro Suwa

    Born in 1960. He was involved in independent movies while attending Tokyo Zokei University. After graduating and gaining experience in producing TV documentaries, he directed 2/Duo in 1997 and won the NETPAC Award at the Rotterdam International Film Festival. He was awarded the FIPRESCI Prize in the Parallel Sections at Cannes Film Festival for M/Other. His other major works are H Story, Paris, je t'aime (omnibus), Un Couple Parfait which won the Special Prize of the Jury in Locarno International Film Festival, and Yuki & Nina. He is known for his particular method that uses uncompleted scripts.

Screenwriting Course

Producing Course

The responsibility of the producer is rather serious and the work encompasses many fields. In practical production, students handle all processes from various negotiations to management of production costs. Students gain understanding of how long a process, how many people are involved and how large a budget is needed during production through practical experience. Above all, every year during a "production project" which is completed in the first term of the second year, students execute the central functions involved in responsibilities from project development to the work being released to the public.

  • Shoji Masui

    Born in 1956. After graduating from Sophia University, he entered Daiei Film CO.,Ltd. and worked on Sumo Do, Sumo Don’ t (Shiko funjutta) as a producer. Afterbecoming independent he established Altamira Pictures, Inc. with Director ItsumichiIsomura and Director Masayuki Suo. He was involved in such movies as Shall We Dance?, Give It All (Ganbatte Ikimasshoi), and Water Boys. He was also active in music documentaries such as Takada Wataru teki, e Golden Cups: One more time,and Komadori shimai ga yattekuru Ya! Ya! Ya! He has won the Fujimoto

  • Shozo Ichiyama

    1963年山口県生まれ。東京大学経済学部を卒業後、松竹に入社。現在はオフィス北野に在籍。主なプロデュース作品に竹中直人監督作品『無能の人』(91)、侯孝賢(ホウ・シャオシェン)監督作品『フラワーズ・オブ・シャンハイ』(98)、サミラ・マフマルバフ監督作品『ブラックボード/背負う人』(00)、賈樟柯(ジャ・ジャンクー)監督作品『罪の手ざわり』(13)、舩橋淳監督作品『桜並木の満開の下に』(12)、等がある。また、2000年より映画祭「東京フィルメックス」のプログラム・ディレクターを務めている。

FILM PRODUCTION TECHNOLOGY COURSE

  • CINEMATOGRAPHY COURSE
  • ART DIRECTING COURSE
  • SOUND DESIGN COURSE
  • EDITING COURSE

CINEMATOGRAPHY COURSE

Cameras and lighting are the areas which fully support the images in a movie. To bear this heavy responsibility, students not only acquire necessary knowledge and skills but also cultivate the ability to appreciate the beauty of images in film. The cooperation of multiple persons is indispensable for the operation of the highly specialized equipment and lighting apparatus. In practical work, students acquire particular team working skills for filming, lighting and communications as well as developing their individual skills.

  • Katsumi Yanagijima

    Born in 1950. After graduating from photography school, he entered Mifune Productions Co. as a contract employee. He became a freelance assistant in 1982, and filmed his first movie in 1987. He took charge of 14 of Takeshi Kitano’ s movies such as Boiling Point (3-4 x jugatsu), A Scene at the Sea (Ano Natsu Ichiban Shizukana Umi), Sonatine, Kids Return, Zatoichi, and Outrage.Other major works he was involved in include Sora ga konnani aoi wakega nai directed by Akira Emoto, Battle Royale directed by Kinji Fukasaku, Go directed by Isao Yukisada, Blood Gets in Your Eyes (Ashurajo no Hitomi)directed by Yojiro Takita, Sea Without Exit (Deguchi no nai Umi) directed by Kyoshi Sasabe, Dear Doctor, and Dreams for Sale (Yume uru Futari) both directed by Miwa Nishikawa.

ART DIRECTING COURSE

When it comes to furniture, clothing, and properties which appear in any movie,it is necessary to prepare items which not only match the setting of the time and place, but are appropriate for the atmosphere of the film. Therefore, it is necessary to possess a wide knowledge and sensibility. In the Art Directing Course, students study production tricks and acumen which go beyond mere technique through seminars and practical work.

  • Toshihiro Isomi

    Born in 1957. After graduating from university, he worked in various professions and began to work on stage art and direction. Later, he became involved in numerous movies as a set designer. His works include Hirokazu Koreeda’s After Life, Nobody Knows, Hana yorimo naho, and Even If You Walk and Walk. Sogo Ishii’s Labyrinth of Dreams and Gojoe: Spirit War Chronicle,Yoichi Sai’s Doing Time and Blood and Bones, Kazuo Kuroki’s A Boy’s Summer in 1945, Kinji and Kenta Fukasaku’s Battle Royale II, Naomi Kawase’s The Mourning Forest, Satoshi Miki’s ADRIFT IN TOKYO, and Ryosuke Hashiguchi’s GURURI no koto.

SOUND DESIGN COURSE

In the Sound Design Course, we provide education and research activities which concentrate on "sound design in film." The specific course contents(common classes with another area are excluded) are as follows:1. In the seminar practice, we deepen knowledge of the acoustical instruments necessary from on-set recording to mixing work, and acquire the necessary techniques.2. In the lectures in seminar, we cultivate knowledge of image expression from the viewpoint of "sound design" and learn to construct our own "viewpoint of sound design."3. Repetitive practice by producing films. is course resides on these three main pillars. By practicing the above three items, students will acquire and master specific skills to become a sound professional, a sound artist, or as soundtrack composer and the like in the movie industry.e Sound Design Course also aspires to exist as a "free space" in which the students can use the sound mastering room and the recording materials, etc. as much as they wish in order to pursue original research. Put another way, this course wants to be a place of "practice" and "experiment" with sound design in film expression.

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  • Hiroyuki Nagashima

    His work on the sound live remix of a movie directed by Director Sogo Ishiiled to work on music and sounds of numerous works regardless of the media.His main movie works are Sogo Ishii's Angel Dust, Katsuhiro Ootomo's Memories episode 3 – ‘Cannon Fodder’ (Taiho no Machi), Shinji Aoyama's Eli,Eli, Lema Sabachtani?, Kunitoshi Manda's Seppun (The Kiss), Hiroshi Takahashi'sKyofu (The Sylvian Experiments), and Makoto Shinozaki's SHARING etc. He also performs with the group Dowser, an electronic music group.

EDITING COURSE

What is editing? Editing exists to bring movie images to life by compiling theow into a definite stream, using the rush films(dailies) which were shot according to the storyboard, things which accidentally appear in frame, and disordered images. Even as the film age changes to the digital age, what is essential to editing has not necessarily changed. To deeply analyze the material, to communicate effectively with others, to discover the subject of the work,and to find out whether specific elements connect or not; to satisfy all these components it is necessary to possess knowledge of not only movies but also the world outside of movies. Technique will follow through once one physically understands what should be expressed. Because the time has come when anyone can easily edit a digital film, the editor’ s position is becoming increasingly complicated. In an age when movie directors can edit for themselves, can a film possibly be edited by another with more precision than what the director intended? In the Editing Course we foster editors who can relate to the present movie environment, after experiencing reel film editing as well as learning the fundamental techniques for connecting film.

  • Takefumi Tsutsui

    Chair of the Department of Film Production, Graduate School of Film and New Media and a professor of the Editing Course. Started film making while attending Tokyo Zokei University. Made his feature-length film director debut with the silent movie Yumeko no daibouken in 1987. While working mainly as an editor and director, he writes numerous film-related reviews, and is now writing a series of new movie reviews in Kinema Jumpo magazine. His major works include Overdrive(2004), Bach’ s Portrait (Bahha no shozo) (2010), and In a Lonely Planet (Kodokuna Wakusei) (2011). He also has newly completed Fancy Free (Jiyu na Fancy), and Eizono Hakken=Matsumoto Toshio no Jidai.