Interview: KADOWAKI Kenji (Image Forum), Producer for KUDO Masa’s Sing by Ear

Could you start by telling us about Image Forum and what you do there?

KADOWAKI: Certainly. Image Forum is involved in everything from running cinemas and film festivals to educating future creators. I personally focus on the Image Forum Festival and the Image Forum Institute of the Moving Image, our educational branch.

Our roots go back to 1971 with the “Underground Center,” inspired by the Film-Makers’ Cooperative in the U.S.. We started by archiving and screening experimental films to support independent artists. In 1977, we renamed ourselves “Image Forum” and expanded into publishing and mini-theater operations to build a wider audience for experimental cinema.

What is the historical link between Image Forum and animation?

KADOWAKI: We’ve always seen animation as a vital form of experimental film—often called “art” or “experimental” animation. To me, there isn’t a rigid line between live-action and animation. For instance, artists like ITO Takashi or SATO Yoshinao create animated works using still photographs.

Experimental film and animation have shared a deep connection here from the start. Our co-founder, AIHARA Nobuhiro, was an animator, and we’ve screened pioneers like FURUKAWA Taku and TANAAMI Keiichi since our inception. Those relationships only grew stronger as we launched our own festival and connected with later generations like IKIF.

Image Forum has also been key in bringing international independent animation to Japan, right?

KADOWAKI: Yes. Since the 1980s, we’ve actively distributed works by artists like Jan Švankmajer, the Brothers Quay, and Suzan Pitt, and more recently, Don Hertzfeldt. We prioritize a work’s “experimental spirit” as a film, so animation naturally becomes a core part of our lineup.

The Institute has also produced some of Japan’s most prominent animators.

KADOWAKI: Indeed. Alumni include KUROSAKA Keita, OYAMA Kei, WADA Atsushi, and ORIKASA Ryo. KUDO Masa, whose new work I’m producing, is also a graduate.

Could you elaborate on the Institute’s origins?

KADOWAKI: We started in 1977 to nurture the next generation, incorporating ideas from filmmaker TERAYAMA Shuji. Our focus is on honing the “ideas” behind free visual expression, rather than being bound by fixed concepts. Until the 90s, when university-level film education was rare, the Institute was a major hub for aspiring directors.

As I mentioned, we don’t strictly distinguish between genres. Our founding instructors, like KANAI Katsu and SUZUKI Shirouyasu, weren’t animation specialists; they taught that experimental film, documentary, and animation all share the same expressive essence. It wasn’t until 2004 that we established a specialized Animation Course. Today, we operate with two main pillars: “Moving Image Art” and “Animation”.

Why did you decide to open a specialized Animation Course later on?

KADOWAKI: In the early 2000s, consumer PC-based editing became accessible, and art universities began formalizing animation programs. We saw a surge in young people wanting to create independent, non-commercial animation.

We actually paused the course in the late 2000s but revived it in 2017. By then, with the rise of media art, traditional “single-channel” experimental film had lost some momentum. I felt that running both courses would act as a shot in the arm, creating a positive synergy between the two disciplines.

What caused that shift in live-action experimental film?

KADOWAKI: The ubiquity of digital cameras and smartphones allows for instant previews. While convenient, we’ve lost the “wait time” of the film era—the time spent waiting for development was actually a vital window for objective reflection.

Animation, by contrast, requires a frame-by-frame process. You’re forced to re-examine your thoughts at every step, which gets to the very heart of visual expression. That’s why we still see a steady stream of exceptional animation artists in the experimental scene. We want our students to cultivate that same frame-by-frame awareness.

So it’s a place to explore the essence of “moving images” itself.

KADOWAKI: Exactly. Today, video is everywhere—from sharing platforms to fine art. Because it’s so ubiquitous, there is value in returning to the essence of cinema and thinking about what it truly means.

What is the specific curriculum like for the Animation Course?

KADOWAKI: Our full-time instructors,OYAMA Kei and MIZUE Mirai, mentor students through to their graduation projects. Unlike vocational schools that focus on industry skills, we emphasize honing “ideas” through dialogue. Our faculty also includes guest lecturers like IWASAKI Hirotoshi, KIM Hakhyun, and SEIKE Mika.

That’s an impressive lineup. Finally, what led Image Forum to begin producing short animation?

KADOWAKI: While artists have more freedom today, the sheer number of options can be overwhelming. Independent creators often lack a partner to consult with, so I felt they needed a mentor who could provide an objective perspective.

Through running cinemas and festivals, we understand the “exit”—how a work reaches its audience. By supporting a project from the “entry” (planning) stage with that exit in mind, we can help enhance the project’s appeal from multiple perspectives.