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Masao Adachi 足立正生

1:26:00

Japan

Japanese

A.K.A. Serial Killer

略称:连环射杀魔

略称・連続射殺魔
1969
Chinese Mainland Premiere

In the fall of 1968, 19-year-old Nagayama Norio murdered four people in a killing spree across Japan with a shotgun stolen from a U.S. Army base. Adachi Masao, together w,ith cultural theorist Matsuda Masao, scriptwriter Sasaki Mamoru and other collaborators, set out to follow his footsteps, from a shabby home in Hokkaido to Tokyo, with a camera in hand. The result is a documentary - hailed as the beginning of the influential "landscape theory" in Japanese film theory and practice - comprised of static shots of landscapes that the young man may or may not have seen in his life up until his arrest. Departing from sensationalist representations of crime, the film exposes the bare materiality of everyday landscapes without dramatic visuals or causal narrativeity or interiority of Nagayama—one of the so-called "golden eggs" (kin no tamago), young workers sent from the countryside to do low-wage, unskilled work in Tokyo; rather, the anonymous and fragmentary scenes ask that we behold the memory of the cities, the habitats of the underclass, thereby universalizing and historicizing Nagayama’s existence within the social context of postwar Japan during the period of high economic growth.s. Adachi’s voiceover does not place emphasis on the individuality or interiority of Nagayama—one of the so-called "golden eggs" (kin no tamago), young workers sent from the countryside to do low-wage, unskilled work in Tokyo; rather, the anonymous and fragmentary scenes ask that we behold the memory of the cities, the habitats of the underclass, thereby universalizing and historicizing Nagayama’s existence within the social context of postwar Japan during the period of high economic growth.

1968 年秋,19 岁的永山则夫用从横须贺美军基地偷来的手枪在日本各地连续杀害了四人。足立正生与文化理论家松田政男、编剧佐佐木守和其他合作者一起手持摄像机重走他的人生轨迹,从北海道的一间破屋直至东京。这部纪录片被誉为日本电影理论和实践中影响深远的 "风景论 "的开端之作,通过一系列静态景物镜头展现这位年轻人在被捕前的短暂一生中或许见过的风景。影片摒弃了煽动性的犯罪表现手法,取消了戏剧性视觉效果及因果叙事,从而揭露出日常景观的物质性。影片画外音并不强调永山则夫(一位所谓的“金蛋”,即在战后从农村到东京从事低工资、低技术工作的年轻劳动者)的特殊性或个体心理。相反,片中匿名化、碎片化的场景引导观众注视日本经济高速增长时期的城市记忆及其底层人民的栖息之所,从而将永山的存在普遍化和历史化。

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Masao Adachi 足立正生

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