Hilobrow strikes again, unearthing yet another fascinating manipulation of a classic film. This time up, it's Yasujirō Ozu's turn: Tokyo Story, to be precise. Or rather, Kurt Ralske’s The 33 Brightest Spots of ‘Tokyo Story’ (1953, Ozu).
“ is based on a computational analysis of Ozu’s film. The brightest four minutes of the complete film’s 136 minutes are seen in an alternate visualization: motion over time is presented as geometry, and spatial form as sequentiality.”
Better still, as poster Peggy Nelson notes, "The scenes and results are presented simultaneously, which lends a Borgesian perspective to time-based media."