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About Japan Institute of the Moving Image

hakusan campus

JIMI – The first and the only university in Japan specializing in cinema.

Greetings from the President, Tadao Sato in 2012

 Two years has passed since the Japan Institute of the Moving Image was established. As the first university in Japan specializing entirely in cinema, we have received much attention.

 Around the world, there are many higher educational institutions (universities) dedicated to the moving image. One such is the Leon Schiller National Higher School of Film, Television and Theatre in Łódź, Poland. An approach from this institution in 2011 resulted in our students’ participation in their five-part documentary project, The World from Dawn till Dusk. This project involved film schools in the capital cities of five nations: Tokyo, Beijing, Moscow, Kiev and Minsk.

 Although JIMI is new as a university, its history encompasses 36 years of experience through two professional colleges, the Yokohama School of Broadcasting and Film and the Japan Academy of Moving Images. We have inherited a tradition of education that has fostered the careers of a large number of luminaries in the current world of Japanese cinema, including some of Japan’s leading contemporary directors, such as Takashi Miike, Kiyoshi Sasabe and Lee Sang-il. The numerous requests from abroad for collaborative projects that we receive are a direct result of the wealth of experience we have accumulated over the years. The recent addition to our ranks of academics with international experience, when the institute was raised to university status, has provided a large boost. When Tokyo: From Dawn till Dusk (in which our students participated) was shown in Tokyo at the Iwanami Hall, to my delight its notoriously discriminating audience gave us rather favorable reviews.

 At the university we are tasked with expanding methods of research towards documenting the history of film in a global context, as well as critiquing the culture of the moving image in general. As a movie critic and historian, I take part in our liberal arts education, along with other exceptional academics from various academic disciplines. I am delighted to see our students attend these lectures with a fresh sense of joy showing in their eyes. Since I am fortunate enough to perhaps have seen a larger and more diverse selection of movies than most, it is a pleasure to offer the knowledge I have gained to young people.

 Movies examine a multitude of issues, ranging from ethnicity and nation-states to personal lives and emotions. If you approach them with a sense of interest, movies can naturally transform you into person of learning. I believe that the knowledge gained by studying movies is incomparably useful for any future endeavor. It is my hope that our university will continue to be a place filled with such hopes and delights.

the President, Tadao Sato

Special Features

1. Students Create Classes

Students receive detailed guidance in small classes, which is designed to place students in an active stance towards their learning. Students do not learn only at their desks but by finding their own subjects of study through filmmaking and fieldwork in groups. They will discover problems for themselves and approach them from various angles through on-going peer discussion. It is a process of trial and error, through which students learn to express their opinions, to listen to others, and to share ideas with others. These are the activities that require a high level of autonomy and social awareness, and through which filmmaking skills can be nurtured.

2. An Intensive Learning Environment

During filmmaking workshops and practice, students are freed from other classes to focus exclusively on these tasks. For example, in the second semester of the first year, the timetable consists of only one subject, Introduction to Filmmaking, for 10 weeks from Monday to Thursday. During this period students can tackle filmmaking in depth, and also foster comrade-ship with other members of their group. Students are able to fully absorb the knowledge and techniques necessary through involvement in this intense experience of group activity. In addition, this unique timetabling allows us to teach numerous other non-practical subjects in a similarly intensive way, to the great benefit of students.

3. Highly Qualified Teaching Staff

We aim to produce graduates who are equipped with both practical and theoretical knowledge in film studies. The teaching staff varies, therefore, from professional filmmakers to critics and researchers; the number of “creative” teaching staff is matched by the number of “theoretical” teaching staff. All of our creative staff are presently active in film production, and consequently they can offer up-to-date information about the current state of the film industry.

4. Collaboration and Omnibus Lectures

In order for students to understand film from different viewpoints, we offer a number of lectures in collaboration or omnibus formats. In these classes experts in different fields are present in the same classroom to demonstrate different approaches, or at other times they give consecutive lectures on the same topic. By having professional filmmakers and critics teach the same subject, students can be immersed in stimulating discussions and learn to acquire their own points of view.

Courses

1. Screen Writing and Directing

By learning the core skills of storytelling and directing, students are encouraged and prepared to create their own film art. For example, they will explore the relationship between text and acting, the essence of drama and techniques of expression, as well as the methodology of screen writing. Simultaneously, we focus on developing leadership skills by improving students’ ability to communicate with others, which is crucial in the collaborative task of filmmaking. 

2. Cinematography

By experimenting with light and colour, students will understand the difficulty as well as the joy of the process of giving a film a certain form. For example, they study the history of the moving image and the technology involved in it. We expect students not only to explore the ways in which a drama can be materialized, but also the philosophical aspects of cinematography in order to prepare them for their professional future.

3. Sound Recording

The relationship between sight and hearing is the first and foremost issue to be tackled in this course, before students proceed to explore ways of creating sounds. Film is the composite art of image and sound. Students are expected to gain a new perspective, in which they re-capture films through a sense of hearing instead of the familiar emphasis on looking. We offer practical lessons about the entire process of creating the audio track of a movie, starting from recording on site, editing in the studio, creating additional effects, and to the final mixing stage.

4. Editing

Students learn the techniques essential for connecting image fragments to weave a story. They will have to grasp the meaning of given images and create a montage. In the process of searching for the best way to tell the story, a good editor will take various things into consideration, from time constraints to the emotional effects on the creators as well as the viewers.

5. Documentary

In documentary making, students learn to gaze at humanity through the narrow space between fact and fiction. Documentary can be defined in terms of the creator’s gaze which exists within the gap between people’s memory and the recorded story of the event. The boundary between fiction and nonfiction is, therefore, neither clear nor fixed. While constantly verifying the incongruities between the moving image and reality, students learn about the news media, the role of journalism, and the multitudes of communication that film can offer.

6. Film Theory and Producing

By learning socio-historical aspects of film, students are exposed to inter-disciplinary approaches, such as cultural studies, sociology, and international relations. While expanding their overall knowledge, students develop their own perspectives for the cultural environment in which they live. Students will particularly explore the social roles and functions film can play in society. This course aims to produce graduates who have the strength to tackle a variety of tasks not only in the film industry but also in local communities and abroad.

Tuition Fees (First Year, in Japanese Yen)

 

At Entrance Procedures

Second Semester

Total

Entrance Fee

300,000

-

300,000

Class Tuition Fee

500,000

500,000

1,000,000

Practical Fees

90,000

90,000

180,000

Facility Fees

200,000

200,000

200,000

Total

1,090,000

790,000

1,880,000

Location and Contact

1-16-30 Manpukuji, KawasakiAsao Ward, Kanagawa Prefecture 215-0004, Japan

Tel  +81-44-951-2511
e-mai linfo@eiga.ac.jp
 Our two campuses are both located in the “Shinyuri: Town of the Arts” district, which is around 30 minutes by train from Shinjuku, Tokyo. The nearest station is Shinyurigaoka Station on the Odakyu Line, which has become a cultural hub within Kawasaki City. The area is now an “Arts Zone”, home to a gathering of other cultural facilities including Kawasaki Art Center, Asao Cultural Center, and Shinyuri 21 Hall. The town offers the perfect environment for art students who can participate in various cultural activities around the town, while enjoying the combination of a beautiful natural landscape and the convenience of metropolitan living.

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