Mako Idemitsu

This film shows the images of a dancing woman who is wearing Kimono overlapping another image which a naked man is dancing. This is one of the original psychological concepts of C.G. Jung. For women, Animus is an image of a man by projection of her mental energy.

The film shows vivid close-ups of a liver with the background music of “My Baby” by Janice Joplin.

Video began as a medium that inspired discovery. This art documentary traces the expressive roots of “media art” in Japan — works of video, performances, and installations created using video technology that allowed for free and creative visual expression.

A film made using a work of Cindy Sherman, expresses Idemitsu's free and easy sense of humor.

At Any Place 1, 1975, film, 16 min, color. Casted over the sky, images of people are suggested as shapes of clouds

In Idemitsu's experiment using a video camera and monitor, the reflexive exercise looking into a mirror is swapped with the monitor, suggesting a reflection on the history of women's relationship with makeup.

When Yoji announces to his mother that he wants her to meet a new girlfriend, the mother's jealousy destroys the relationship. Yoji's mother fastens onto her son, unable to leave his mother or experience love for any other woman.

What is America to her? Idemitsu, who lived in America for eight years, looks introspectively at herself and her strange connection with America.

Kiyoko's Situation articulates the deeply embedded cultural roles of Japanese women through the parallel stories of two female artists, Kiyoko and Tani. In Idemitsu's narrative-within-a-narrative, "Kiyoko's situation" is played out on a television monitor within Tani's drama. Tani is paralyzed in her attempts to paint by her feeling that, as a single woman, she has failed in society's eyes. Kiyoko, a young mother viciously criticized by her husband and family for her fierce determination to paint, eventually compromises her art for "maternal duty." As Kiyoko complies with the family, Tani, isolated and despairing, is driven to suicide. Idemitsu's chillingly omniscient television monitor, which acts as the psychological "other," metaphorically and literally condemns Tani to death. In the final cruel irony, she hangs herself, using the television monitor as a jumping-off point.

In Kae, Act Like A Girl, Idemitsu continues her experimental narrative exploration of women's roles in contemporary Japan with a tale of women's liberationist awakening. Here she presents a young female artist's conflict with the traditional, patriarchal expectations of women in Japanese culture, in which men are privileged and women are groomed to be wives and mothers. Within Idemitsu's narrative, video screens and images represent the protagonist's inner struggle — memories, conscience, familial pressure — as she subordinates and then ultimately achieves her personal and artistic desires.

One of a series of Idemitsu’s works which deal with housewives buried in everyday life. Idemitsu overlapped a 16 mm work that had Yoneyama Mamako pantomiming in her “Tango of a Hosewife” for the Commemoration of the International Women’s year, 1975. Behind Mamako pantomiming as a housewife, there are clouds, sunsets and bonfires.

Hideo, a young man living away from his parents, is kept under constant surveillance by his doting mother via an omnipresent television monitor. Mama can only communicate with her beloved, absent son through the video screen.

The second part of a trilogy, Great Mother (YUMIKO) is a domestic melodrama that examines the cultural and familial role of Japanese women by tracing the psychology of a turbulent mother-daughter relationship. Yumiko, a rebellious young woman from an affluent family, encounters resistance from her mother, a successful career woman, when she becomes pregnant and marries. The mother is an icy, assured presence, seen only on a television screen as a superego who monitors Yumiko's behavior. The television becomes a powerful metaphorical device, underlining the disunity of the familial structure and acting as a psychological presence. As Yumiko's marriage deteriorates, her pain is juxtaposed with the banal rituals of her mother's life (instructing her subordinates at work, scrubbing the floor at home), an irony ultimately heightened by the viewer's awareness of the reflexivity of this drama-within-a-drama.

In this personal film made during when Idemitsu went back and forth between Japan and USA, the subjective gaze is depicted in the abstract images with high contrast.

This film was made for a 3 minutes film festival held in Japan. A cup noodle is ready in 3 minutes.

A mindscape in Santa Monica, where Idemitsu lived for 8 years.

One man's life is expressed in a form of a mime with a factories' chimneys are placed as its backdrop.

This film shows colorful flowers, frame by frame, with some music. The trembling flower resembles a music symphony.

A woman performs domestic chores, watched by a television displaying the image of her own eye. The home is recast as a space of surveillance, control and repetitive labor.

Housewives who find faults in other women that they refuse to admit in themselves, gossiping about them as if it were none of their business. This work visualizes the concept of the 'shadow' as it manifests within everyday occurrences.

Whispering Light, 1985, film, 10:50 min, color In this emblematic personal film, light and shadow of plants is successfully constructed over the subjective gaze of the narrator who is working through her mother’s death.

Depicts one weekend of a gay couple. The title "Touryanse" refers to a Japanese nursery rhyme.

This film is composed of different images of a girl, clouds, and trees.

This film shows lofty sentiments with music by Aki Takahashi. Idemitsu’s mental images are beautifully and sensuously filmed; a mass of snails intertwined as if copulating in a group; scarlet petals; curtains swing in the wind.