Born 1932 in Aichi Prefecture. Graduated from the University of Tokyo in 1955. He has been a trailblazing force in the field of Japanese avantgarde documentary film, experimental film and multi-film.
His documentary Mothers won the San Marco Prize at the Venice International Film Festival in 1967. He created numerous experimental short films ranging from The Song of Stone (1963) to Engram (1987), works of video art from Metastasis (1971) to Giso (1992), experimental films from Funeral Parade of Roses (1969) and Demons (1971) to Dogura Magura (1988), which were shown in Japan as well as abroad. In the field of multimedia, he participated in the US-Japanese Cross Talk Intermedia (1969), and thereafter served as general artistic director of the Textile Pavilion at World Expo ‘70 (Osaka).
As a film theorist, he published many works including Eizo no Hakken (Discovering Film) (1963), Hyogen no Sekai (The World of Expression) (1967), Eiga no Henkaku (Transformation of Film) (1972), Genshi no Bigaku (The Aesthetics of Optical Illusions) (1976), Eizo no Tankyu (Quest of Film) (1991), and Itsudatsu no Eizo (Prolapse of Film) (2013). Besides his activities as a fi lmmaker and writer, he also put a lot of effort into fi lm education. He was an assistant professor at the Design Department of Tokyo Zokei University (1968-1971), a professor at Kyushu Institute of Design, Department of Visual Communication Design (1980-1985), head of the Film Department of Kyoto College of Art (1985-1991), a professor at Kyoto University of Art and Design (head of the Instruction Department (1991-1994), head of the Art Department (1995-96) and Associate Dean (1995-1998), chairman of the Japan Society of Image Arts and Sciences (1996-2002), a professor at the College of Art at Nihon University (1999-2002) and a guest professor at the Graduate College of Art at Nihon University (2002-2012).
MATSUMOTO Toshio is an avant-garde pioneer, who started to comment on the “honeymoon” of avant-garde and documentary fi lm in the late 1950s and has been addressing the advancement of experimental fi lm, video art and media art as a practitioner over the long span of half a century. He established the word “eizo” (video/film) in Japan, and by adopting semiotics and his individual philosophy of visual perception, he triggered a paradigm shift in the concept of “video/film”. By this, he can be regarded as a true contributor to the fi eld of Media Arts. He has also made great achievements related to the development of fi lm theory and film education. (UKAWA Naohiro)