Reflecting on <i>Ryakushō Renzoku Shasatsuma</i> (<i>A.K.A. Serial Killer)</i>: Expanded Cinema as an Artistic Form of Political Resistance

DOI
  • Taguchi Hitoshi
    The University of Tokyo, Graduate School of Arts and Sciences, in Doctoral Program

Bibliographic Information

Other Title
  • 『略称・連続射殺魔』再考――抵抗形式としてのエクスパンデッド・シネマ

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Description

<p>This paper examines Masao Adachi’s film Ryakushō Renzoku Shasatsuma (A.K.A. Serial Killer) (1969), a documentary of the nineteen-year-old serial killer Norio Nagayama, which initiated and has been analyzed as a visual representation of the theory of fūkeiron (Landscape Theory). Fūkeiron does not specifically explain the production method, although the implication may be found in its criticism of everyday life. This paper reconsiders the film itself and examines Adachi’s close relationship with the contemporary art of his time.</p><p>In the first section, the relationship between the leftist ideology of fūkeiron and the life story of Norio Nagayama is summarized. Subsequently each shot in Ryakushō Renzoku Shasatsuma is analyzed in detail. Furthermore, the characteristics of Masao Adachi’s work that differ from interpretations of fūkeiron are identified. In the final section, the reasons the film was not publicly screened are investigated, including Adachi’s notions as an experimental filmmaker and his close relationships with contemporary artists, especially Genpei Akasegawa.</p>

Journal

  • eizogaku

    eizogaku 109 (0), 5-26, 2023-02-25

    Japan Society of Image Arts and Sciences

Keywords

Details 詳細情報について

  • CRID
    1390014093883986048
  • DOI
    10.18917/eizogaku.109.0_5
  • ISSN
    21896542
    02860279
  • Text Lang
    ja
  • Data Source
    • JaLC
  • Abstract License Flag
    Disallowed

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