Serial Killer sets out to see what the killer might have seen on the way, as he looked for a job and a better place that never existed and committed the crimes in those spaces. Serial Killer he created a new approach: fukeiron, or landscape theory. The work of the Japanese cinematic avant-garde will be studied from within its own cultural context, including the U.S. – Japan Treaty, the upheavals of 1968 and their aftermath, relations between Japan and Korea, student protests, as well as in relation to modernism/modernity, race, sexuality, gender, terrorism, pornography, and … Producers: Masao Adachi and Kōji Wakamatsu. Serial Killer (1969), aimed to move the emphasis of film from situations to landscapes as expression of political and economical power relations. Adachi Masao, together with cultural theorist Matsuda Masao, scriptwriter Sasaki Mamoru and other collaborators, set out to trace the young man’s footsteps with a camera in hand. More information, The Shortest Day - "Inèdits" at the CCCB. To do so, in A.K.A. The film puts into practice the "landscape theory" (fûkeiron in Japanese) developed by Masao Adachi, which proposes to turn the camera not towards the subject of the film but towards the landscapes in which the subject has lived. Feb 6, 2020 7:30 PM to 9:00 PM. CCCB ticket offices (taquilles@cccb.org/ 933064100) and www.eventbrite.es, This website uses cookies to improve the browsing experience. The film borrows from and inverts Adachi’s theory of fukei ron, or the idea that filmic observation and interpretation of the landscape could reveal the societal structures of oppression informing everyday life, as exemplified in the film AKA Serial Killer (1969), about the serial killer Norio Nagayama. Serial Killer (1969) introduced the so-called landscape theory, fukeiron in … The character's … Serial Killer sets out to see what the killer might have seen on the way, as he looked for a job and a better place that never existed and committed the crimes in those spaces. Is it possible to formulate a first question and to continue having dinner. But it was a second-degree use of the theory, more conceptual than literal. Amid revolutionary far left movements in which Masao Adachi actively took part as a filmmaker in the sixties, he decided to film the story of a 19-year-old boy who murdered four people in four different cities for no apparent reason. Més informació here. Benning's path is similar, but more ambiguous about the nature of crime, when the film immerses itself in the deranged minds of two real-life murderers. AUB Art Galleries opens its current exhibition, Cut/Gash/Slash—Adachi Masao—A Militant Theory of Landscape, with the aim of reintroducing Adachi Masao to the Lebanese public following his eighteen-year absence from Lebanon (2001–2019). When bare life confronts landscapes ˸ an analysis of Wakamatsu Kôji and Masao Adachi’s erotic and revolutionary films . To do so, in A.K.A. Overexposed bodies from pink cinema are now … The resulting film, A.K.A. Serial Killer he created a new approach: fukeiron, or landscape theory. Serial Killer he created a new approach: fukeiron, or landscape theory. He helped to formulate a theory for the cinema known as fukeiron (landscape theory). CCCB ticket offices (taquilles@cccb.org/ 933064100) and www.eventbrite.es. Serial Killer 略称連続射殺魔 (1969).Director: Masao Adachi. Utilizing his fukeiron landscape theory and filming the seemingly quotidian locations that the titular criminal had occupied, Adachi … adachi, a true revolutionary artist, compels his audience to draw connections between the landscape backgrounds of the killer's life and his seemingly random crimes. To do so, in A.K.A. Amid revolutionary far left movements in which Masao Adachi actively took part as a filmmaker in the sixties, he decided to film the story of a 19-year-old boy who murdered four people in four different cities for no apparent reason. A.K.A. Rei Terada is Professor of Comparative Literature at UC Irvine. Adachi’s philosophy is situationist – he critiques himself and his own values just as he critiques the dominant forces which he struggles against. To do so, in A.K.A. While preparing the shoot, Adachi and his team realised that what were originally intended as mere locations for the story would actually be the film: “We would make a film about how Japan and its landscapes oppressed people. The woman and her husband aren't ever in the same shot, with either a wall or some … Filmmaker Masao Adachi is often viewed as the progenitor of Japanese "landscape theory." Inspired by Marxist film criticism of the 1970s, the theory posits that even the landscape around us is an expression of the dominant political power. A series of screenings, a digital archive with over a 1,000 films and educational activities dealing with experimental films. Based on real events, and drawn from thousands of pages of judicial documents, the work employs the so-called landscape theory (fukeiron in Japanese). Rather than filming the subject of his film—a recently arrested 19 year old serial killer—Masao Adachi turned the camera 180 degrees, and instead, decided to film the landscapes seen by the subject over the course of his life. Inspired by Marxist film criticism of the 1970s, the theory posits that even the landscape around us is an expression of the dominant political power. While his name may sound familiar within certain Arab political and cultural circles, Masao’s art, films, books, and film theories … While preparing the shoot, Adachi and his team realised that what were originally intended as mere locations for the story would actually be the film: “We would make a film about how Japan and its landscapes oppressed people. Go Hirasawa – AKA Serial Killer and Landscape Theory [fukeiron] Skype conversation with Masao Adachi, director of AKA Serial Killer Jelena Stojkovi – Landscape, Photography and the Image [eizo] in Japan Alberto Toscano – Fortini/Cani, Italy/Palestine and the Landscapes of Resistance A.K.A. Eric Baudelaire’s Also Known as Jihadi is the most recent of the artist’s responses to the work of Japanese filmmaker Masao Adachi, in this case a remake of latter’s unconventional 1969 documentary A.K.A. The film is, then, situated in the interval between mounting student and street protests—put down by force in mid-1969—and armed militancy, in which Adachi took part as a member of the revolutionary Red Army (Nihon Sekigun). The Japanese cinematic avant-garde is studied from within its own cultural context, including the U.S. – Japan Treaty, the upheavals of 1968 and their aftermath, relations between Japan and Korea, student protests, as well as in relation to modernism/modernity, race, sexuality, gender, terrorism, pornography, and Japanese landscape theory … Adachi’s fi lms and writings, and their continuity with his activities Serial Killer he created a new approach: fukeiron, or landscape theory. This semester I’ve decided to bring all of this work together, along with the work of Adachi and Japanese landscape theory, and the Situationist International, in order to continue working on the problem of the historical present. Copies courtesy of Nihon University Film Club and Masao Adachi Screening Committee. Wan: Rice Bowl, Nihon University New Cinema Club, 1961, 16 mm, 24 min, A.K.A Serial Killer, Masao Adachi, 1969, 35 mm, Spanish subtitles, 86 min. AUB Art Galleries opens its current exhibition, Cut / Gash / Slash—Adachi Masao—A Militant Theory of Landscape, with the aim of reintroducing Adachi Masao to the Lebanese public following his eighteen-year absence from Lebanon (2001–2019). an enigmatic travelogue charting the trajectory of a serial killer, this political documentary features no dialogue or characters and very little narrative. The reason why we, including Adachi Masao, in making a strange work – which can only be called an ‘actual-landscape film’ [jikkei eiga] rather than a documentary film – had followed the footsteps of the ‘serial killer’ Nagayama Norio by passing through the eastern half of Japan; Abashiri, Sapporo, Hakodate, Tsugaru … She is the author of “Feeling in Theory: Emotion after the ‘Death of the Subject’ ” (Harvard UP, 2001; René Wellek Prize, 2002) and “Looking Away: Phenomenality and Dissatisfaction, Kant to Adorno” (Harvard UP, 2009). Copies courtesy of Nihon University Film Club and Masao Adachi Screening Committee. Adachi Masao, Wakamatsu Koji IFFR 2016 71′ Foreshadowing Adachi Masao’s own decision to participate in the Japanese Red Army and the Palestinian resistance, the curious newsreel propaganda film, co-directed with Wakamatsu Koji, takes on a radical approach to the genre with its patient film form comprised of long takes inspired by the landscape theory Adachi … In 1974 Adachi left Japan and committed himself to the Palestinian Revolution and linked up with the Japan Red Army. A.K.A. Inspired by Marxist film criticism of the 1970s, the theory posits that even the landscape around us is an expression of the dominant political power. SYNOPSIS . The film, with a voiceover by Adachi and a free jazz score, relates the life of the killer to show, no matter how trivial they might seem, how those and all places—transformed into postcards—are an expression of the dominant political power and the commodification of everyday life. Filmmaker Masao Adachi is often viewed as the progenitor of Japanese "landscape theory." ... Masao Adachi. Amid revolutionary far left movements in which Masao Adachi actively took part as a filmmaker in the sixties, he decided to film the story of a 19-year-old boy who murdered four people in four different cities for no apparent reason. Serial killer is about how the landscape that surrounds us influences our behavior and perception of the world. The key to understanding fûkeiron as a self-contained theory of landscape film is to recognise its isolation—debates were advanced in issues of the monthly film journal Eiga hihyo, A.K.A Serial Killer had its first … We realised how the landscape reflects the image of society’s power. Japanese director Masao Adachi is one of the founding fathers of topographic cinema, and this is the film that defined his theory thereupon: departing from the theses of radical Marxism, he tries to demonstrate that the landscape that surrounds us, from its most picturesque and banal details to its constructions and forms, is … Smihi focuses on spaces and structures to convene social relations - these include Tangiers' colonial buildings and port, as well as the rooms in a house. Intersectional-feminist film from Morocco, with a few notes of Adachi's "landscape theory". collective project of “landscape theory” (fúkeiron [風景論]), Adachi’s work repeatedly evokes a sense of this “all.” Capitalist totality is the premise of a changing landscape that compels his attention as the camera surfaces into it in fi gures 1 and 2. In the first part of the thesis Adachi’s image-political concept called fūkeiron or landscape theory is discussed to point out the transformations of his militant cinema-aesthetics in the context of political activism in the 1960/70ies. Adachi's landscape theory in A.K.A. Adachi stayed there, while Wakamatsu returned to Japan after filming had finished and continued to make subversive pink cinema, occasionally utilizing sub-texts founded on Landscape Theory. The landscapes were enough.” (Adachi). Audiovisuals Amid revolutionary far left movements in which Masao Adachi actively took part as a filmmaker in the sixties, he decided to film the story of a 19-year-old boy who murdered four people in four different cities for no apparent reason. The landscapes were enough.” (Adachi). The film is, then, situated in the interval between mounting student and street protests—put down by force in mid-1969—and armed militancy, in which Adachi took part as a member of the revolutionary Red Army (Nihon Sekigun). the … Wan: Rice Bowl, Nihon University New Cinema Club, 1961, 16 mm, 24 min, A.K.A Serial Killer, Masao Adachi, 1969, 35 mm, Spanish subtitles, 86 min. ... films of the fûkeiron, the “landscape theory”, address the question of the future of individuals confronted with the landscapes of the modern world. Landscape Theory. Landscape theory claims that by filming the surroundings – the topography of the land – you are able to decipher political constructs that are going to influence human behaviour, especially when human behaviour goes wrong, or at least escapes what our societies deem acceptable – a serial killing or, in the case of Adachi, a … The film premiered at FID Marseille film festival. The theory, most evident at work in A.K.A. If you continue browsing, you agree to our use of cookies. Filmmaker Masao Adachi is often viewed as the progenitor of Japanese "landscape theory." CCCB. The result is an experimental documentary comprised purely of landscape shots, each of which shows scenery that Nagayama may or may not … Also Known as Jihadi follows the progress of a young man's journey from France to Syria, and back to France, where he is incarcerated for allegedly joining Daesh. The film, with a voiceover by Adachi and a free jazz score, relates the life of the killer to show, no matter how trivial they might seem, how those and all places—transformed into postcards—are an expression of the dominant political power and the commodification of everyday life. Serial Killer. It was with an equally free spirit that I applied to the lives of Masao Adachi and May Shigenobu the landscape theory in The Anabasis, retracing their biographical journey, thus projecting the theory onto the theorist. Adachi Masao, Wakamatsu Koji IFFR 2016 71′ Foreshadowing Adachi Masao’s own decision to participate in the Japanese Red Army and the Palestinian resistance, the curious newsreel propaganda film, co-directed with Wakamatsu Koji, takes on a radical approach to the genre with its patient film form comprised of long takes inspired by the landscape theory Adachi … Amid revolutionary far left movements in which Masao Adachi actively took part as a filmmaker in the sixties, he decided to film the story of a 19-year-old boy who murdered four people in four different cities for no apparent reason. Si continues navegant, considerem que acceptes que n'utilitzem. We realised how the landscape reflects the image of society’s power. Aquest web utilitza cookies per millorar l'experiència de navegació. Considerem que acceptes que n'utilitzem it possible to formulate a first question and to continue having dinner life. 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