Shūji’s Mirror 修司之镜

Shūji’s Mirror is a digital curatorial project built around the subversive cinema of Japanese director Terayama Shūji. It explores how countercultural modes of viewing are reimagined in the digital age, and how fan communities can develop autonomous systems of cultural production.

In the first phase, I re-contextualized key visual motifs from Terayama’s films—particularly his explorations of body, identity, and ritual—into modular components suitable for digital re-presentation. This process acts as both a close reading of his visual language and a tribute to underground curatorial practices.

In the second phase, I designed and launched an experimental online film festival platform. Structured around fan-led screenings, unofficial archives, and collaborative criticism, the platform became a space where users curated, commented, and reimagined Terayama’s work in a decentralized, self-governed environment.

In the third phase, I documented the patterns of interaction and platform behavior to create a Map of Digital Cinephilic Autonomy. This map visualized how affect, memory, and shared obsession can shape collective media practices—even within a landscape dominated by algorithms.

Shūji’s Mirror is not a nostalgic monument, but an experiment in resonance — a mirror not of Terayama’s past, but of our mediated present, refracted through his radical lens.

《修司之镜》是一个围绕日本导演寺山修司作品展开的数字策展项目，旨在探讨在反文化语境下，观影行为如何在互联网中被重新组织、再编码，并成为一种群体自我构建的文化实践。

第一阶段，我梳理寺山修司的代表影像文本，聚焦其中关于“身体、身份与仪式”的表现形式，并将其转化为数字语境下的视觉模块。这一过程不仅是对影像语言的重读，也是一种向“非主流电影策展”的致敬。

第二阶段，我设计并开发了一个模拟线上电影节平台，以“非官方”“迷影者主导”为核心原则，邀请观众以自我组织的形式进行影像分享、影评发布与次文化再创作。这一平台不仅打破了传统展映与策展之间的权力结构，也激发了观众之间的自治协作。

第三阶段，我将平台行为数据与粉丝互动机制进行记录与分析，从而生成一份“数字观影自治地图”——它既是对平台生态的观察，也是一种新的观看政治图谱：在一个算法主导的世界中，我们如何以“迷恋”组织社群，以“共感”重构意义。

《修司之镜》不是对寺山作品的怀旧凝视，而是一次与他的精神同频的媒介实验。镜子所映，不是过去的影像，而是当代观影者被技术重组后的倒影。