1. Avant-garde art is fuelled by socio-political uncertainty.
2. The presence of an avant-garde art scene indicates socio-political turmoil (there is no smoke without fire).
3. Just as contemporary societies evolve from and reflect history, contemporary artistic movements evolve from and reflect historical art movements (nothing exists in a vacuum - a fire needs oxygen).
4. JAEFF historicises contemporary Japanese experimental filmmaking.
5. JAEFF makes classic Japanese avant-garde cinema relevant and urgent.
6. JAEFF believes that Japanese avant-garde and experimental cinema is intellectual, conceptual, and academic.
7. JAEFF also believes that Japanese avant-garde and experimental cinema is non-intellectual, non-conceptual, and anti-academic.
8. JAEFF aims to make Japanese avant-garde and experimental cinema accessible to practical, theoretical, and popular audiences. There is no hierarchy amongst these three spheres.
9. JAEFF insists that these three audiences be given equal platforms, and that encourages them to share these platforms.
10. JAEFF looks forward and backwards, making the present out of the future and the past.
11. In this sense JAEFF is Janus - the two headed Roman god of gateways. JAEFF is a gateway through which new audiences can be introduced to creative and political Japanese cinema, and through which old audiences can be reinvigorated by new acolytes and ideas.
12. JAEFF respects traditions, and those who flaunt traditions.
13. JAEFF does not believe in a fixed canon.
14. JAEFF supports work that (like itself) is born of frustration, but quests for hope.
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