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The idea of JAM was conceived while I was attending the Ottawa International Animation Festival in 2008.After returning to Japan, I soon began making the film and completed it in four months.This film is based on a very simple idea: the increasingly varied the sounds, the greater is the number of creatures. I wanted to rid myself of the frustrating experience of making Devour Dinner, which was highly unsatisfactory from the viewpoint of the movement in the film. My intention in this film was to fill the screen with chaotic movements.

A lone camper hears strange noises coming from the depths of the lake.. Will she stand her ground or will she give in to their fishy temptations?

Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.

This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, colour filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.

A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.

When young dockworker Jude leaves Liverpool to find his estranged father in the United States, he is swept up by the waves of change that are re-shaping the nation. Jude falls in love with Lucy, who joins the growing anti-war movement. As the body count in Vietnam rises, political tensions at home spiral out of control and the star-crossed lovers find themselves in a psychedelic world gone mad.

The story of Adam and Eve with jazzy music. Short experimental animation without words.

In this animated short, simple geometric forms as thin and flat as playing cards constantly form and re-form to the sound of the koto, a 13-stringed Japanese instrument.

An extraordinary young girl discovers her superpower and summons the remarkable courage, against all odds, to help others change their stories, whilst also taking charge of her own destiny. Standing up for what's right, she's met with miraculous results.

Confined to an endlessly burning waiting room, a dying sedentary woman experiences herself blurring in and out of her body. In her last remaining fragments she tries to make amends with her spirit before her remaining fragments either decay or create.

High Voltage is constructed from footage James Whitney contributed to Belson for use in one of his Vortex concerts.

Len Lye usually timed his films with great care to match their soundtracks, but for All Souls Carnival, he and composer Henry Brant worked separately, preferring to see if the score and visual track would synchronise by chance. Lye also experimented with a new Direct Film technique, drenching the filmstrip in colourful paint and marker pen.

Three books: a film festival catalogue, a dictionary, the Bible. Three works whose materiality has become obsolete by the digital dematerialization. A commentary on the fragility of culture.

The screen is divided again and again until the picture arranged in ever changing strips bursts into whirring dynamic.

This is no animation, it's one picture. Short experimental film by Mirai Mizue

This short experiments with the flow of oil ink over the surface of the water. Mizue manipulated the ink by blowing with straws or stirring with toothpicks and used stop motion animation techniques to shoot the resulting effects.

A surreal short animation by Mirai Mizue.

A unique journey across a topography created entirely from a form of digital light and shadow—a bristling terrain of poles bending the light in every direction. This film is the remake of Barcode, an abstract road-movie about light and shadows.

"Mouris’s film, YOU’RE NOT REAL PRETTY BUT YOU’RE MINE…, built upon the strongest elements of QUICK DREAM, and added a pop music soundtrack. Mouris says, “I shot another 100 foot roll on classmate Jerry Strawbridge’s home animation stand, and edited that into the best sequences from QUICK DREAM. The whole film was a tongue-in-cheek series of odd couples/couplings, which the title suggested. The FRANK FILM photo collage animation evolved here.” - Yale

The protagonist feels dead in waking life and alive in dreams.