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RECORD No.41
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Be that as it may, the fact is that I haven’t been inside a movie theater for almost ten years now.
Not that I don’t like movies. It just so happened that I haven’t seen any. Not even on TV, on DVD, or during flights. It does seem strange even to myself, considering that I spent a lot of time in cinemas, staring at the screen and watching some film or other when I was young.
Back then, Takuma Nakahira was Godard, and I was Fellini. Either one of us would always invite the other to go and see a movie together, which we did a lot, and I have no idea what it is that has pulled me this far away from movies and theaters.
A while ago, someone asked me to name my favorite movie. I didn’t know what to say. There were of course two or three Japanese, and a couple of foreign movies that had impressed themselves on my memory, but judging by the way that question was asked, that person seemed to expect a slightly different kind of answer, so I ended up sinking into thought. What finally came to mind after an eternity and a half of pondering was David Lynch’s “Eraserhead.”
So this was the one film that summed up the entire world of cinema for me.
It was ages ago that I watched it, and I only vaguely remembered the story and a few details, but what I did remember well was that it was a “dark” one. My impression of the movie was basically that just about everything on the screen, every light and every shadow, was dark. It was so mysterious a “darkness” that it engraved itself on my entrails like an importunate stain. I don’t think I will ever watch it again.
There is absolutely no connection, however, between “Eraserhead” and the fact that I haven’t seen a single movie for years.
I guess it’s just that, the older I’m getting, the more I’m taken up with roaming the streets and alleys of the city, and it’s that addiction that must be gradually extinguishing other capacities.
– Afterword (Excerpt) by Daido Moriyama
- Size
- 280 x 210 mm
- Pages
- 104pages
- Binding
- Softcover
- Publication Date
- 2019
- Publisher
- Akio Nagasawa Publishing
Daido MORIYAMA
森山大道
Born 1938 in Osaka. After working as an assistant for photographers Takeji Iwamiya and Eikoh Hosoe, he went independent in 1964. He has been publishing his works in photography magazines among others, and received a New Artist Award from the Japan Photo Critics Association for Japan: A Photo Theater in 1967. Between 1968 and ’70 he was involved in the photo fanzine Provoke, and his style of grainy, high-contrast images that came to be referred to as “are, bure, boke” (grainy, blurry, out-of-focus) made an impact on the realm of photography. Solo shows at New York’s Metropolitan Museum of Art and the Fondation Cartier pour l'Art Contemporain in Paris solidified Moriyama’s worldwide reputation, and in 2012, he became the first Japanese to be awarded in the category of Lifetime Achievement at the 28th Annual Infinity Awards hosted by the International Center of Photography (ICP) in New York. The “William Klein + Daido Moriyama” exhibition together with William Klein at London’s Tate Modern in 2012-13 was a showdown of two immensely popular photographers that took the world by storm.
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Prints of Daido MORIYAMA
