Norman Yonemoto

Brenda, vivacious leader of the "Satins", a fun-loving group of pretty high school girls, searches for deadly vengeance against the gang members who assaulted her deaf-mute sister.

A young woman who works in a beauty parlor discovers that her vagina can talk, which causes her no end of trouble.

A parable of the Hollywood image-making industry told through a pastiche of narrative cliches.

A couple's violent argument is repeated three times in this video, first in long shot, then in medium shot, and finally in close shot. As the camera moves in, the sound moves in the opposite direction; from a close perspective to silence. The subject of the argument satirically underscores the role electronic media plays in undermining the basic tenets of romantic relationships.

Deconstructing the myth of Oedipus within the framework of an ancient Japanese folk story, the Yonemotos craft a highly charged discourse of loss and desire. Quoting from Bunuel, Freud, pop media and art, they place the symbology of Western psychosexual analytical theory into a cross-cultural context, juxtaposing the Oedipal and Kappa myths in a delirious collusion of form and content. The Kappa, a malevolent Japanese water imp, is played with eerie intensity by artist Mike Kelley; actress Mary Woronov plays Jocasta as a vamp from a Hollywood exploitation film. Steeped in perversions and violent longings, both the Kappa and Oedipus legends are presented in highly stylized, purposefully "degraded" forms, reflecting their media-exploitative cultural contexts. In this ironic yet oddly poignant essay of psychosexual compulsion and catharsis, the Yonemotos demonstrate that even in debased forms, cultural archetypes hold the power to move and manipulate.

Europe’s enchantment with American consumer culture is depicted, as well-known European architectural landmarks – the Eiffel Tower, the Acropolis, London Bridge – are reflected in the glossy surface of a 1960s Cadillac convertible, the ultimate symbol of the “golden age” of American consumerism.

GARAGE SALE is a campy feature centered on a story of marital upheaval between drag queen Goldie Glitters and her fair-haired husband, Hero. A onetime member of San Francisco’s legendary Cockettes theatre troupe, Goldie was famously crowned Santa Monica College’s 1975 Homecoming Queen, captured in Bruce Yonemoto’s documentary HOMECOMING (1975). GARAGE SALE subverts the drag aspect of Goldie’s performance enabling her to sympathetically play a woman whose fantasies and expectations have been shaped by Hollywood romance films. The film follows the couple as Hero tries to regain Goldie’s love by seeking the advice of a cast of eccentric characters.

Spalding Gray comes to LA to perform a set of monologues.