Excellence Prize
Franz Kafka's
A COUNTRY DOCTOR
Short Animation
Artist: YAMAMURA Koji
(Japan)
A short animation based on a novel A Country Doctor by Franz Kafka, a well-known author with absurd novels. Devoting over ten thousand pictures to depict the fate of a country doctor who, though most surely missing something, but still carrying on living, the artist brilliantly visualized in a world of the doctor’s isolation and anxiety.

YAMAMURA Koji
Born in Nagoya, 1964. His work is well known, both in Japan and abroad. In 2003, he won the Annecy Crystal for his work Atama Yama (2002), which is the highest honor bestowed by the Annecy International Animated Film Festival; he was the first Japanese person to win the prize. He was also the first Japanese person to be nominated for the Best Animated Short Film at the 75th Academy Awards.
At 21 minutes, this ended up being quite a lot longer than my usual films; the production process was painstaking, but it was made possible through the efforts of the illustrators, music composer, sound engineers, voice actors and also the distributor, SHOCHIKU, who gave me the opportunity to produce this work. One of the most rewarding things about working on this project was that it brought me closer to Franz KAFKA’s spirit of creation and, being inspired by his original story, gave me the chance to extend the potential of animation. In addition, it has brought me this prize, for which I am very grateful. Thank you very much.
YAMAMURA Koji takes his solitary journey far outside the pack of other short animation films. Everyone would accept this fact after seeing his work. The denseness of the image produced by the animation which uses more than 10,000 individual pictures for 20 minutes of film is overwhelming when you take any one cut. “Bibiri,” fluttering, and “yugami,” skewness, embodying the mentality of the characters is a presentation achieved only by hand-drawn animation which the artist realized as a result of his continued trials. The very reason why he chose a Kafka story to base his new piece of work on is perhaps to visualize psychology and imagery which only animation can realize, rather than just telling a story. This may be what the artist wishes to present. YAMAMURA of the world, who never stops his walk, keeps challenging the possibilities of new presentations of animation.
What has lead you to “create a work”?
My oldest memory is drawing something at home and I have kept drawing things up to the present day. I do not know what made me so, but I seem to have had the impulse to create something since I was born.
What tools do you use the most at present?
Notes, paper, pencils, pens, markers, ink, color pencils, and PC.
What do you place greatest value on in your work?
The degree of pureness and depth of images.
What personal concept do you keep throughout your creative activities?
I have never imagined representing a theme, but I would say “awareness” and “identity” as words which I am conscious of.
When you create a work, in what way do you think of a presentation using technologies or media as a means to communicate?
In my opinion, technology is absolutely a tool for representation and it can never be technology=presentation. I place greater importance on “cultural memes,” i.e. tradition of intangible spirit rather than “media,” the tangible shape of the “vehicle.”
Could you name a person, a work, or an event that you have been influenced by the most?
An encounter with lineups of works of the National Film Board of Canada including works by Ishu PATEL and Breakfast on the Grass by Priit PÄRN.
What kind of work would you like to create in the future?
I would like to create works which pursue further possibilities of short animations.
What is the meaning or importance of “to create” for you?
It is an act where the time to think is given and a fulfilling mental state is achieved.










