film about red army (another question)

[Khash Najib]

Mentioning Oshima Nagisa, does anyone here know about his
health condition? A recent KineJapan e-mail mentioned
seeing him on Iron Chef. Does that mean he is genki again?
The last thing I had heard (last year) was that he was in
a coma after a (second?) brain stroke that he had while
attending a film festival in London...

Najib El-Khash





--- Roland Domenig <roland.domenig at univie.ac.at> からの
メッセージ：
> dear nohchool park,
> 
> there was a similar question concerning films about
> the sekigun last year.
> back than i wrote the following answer:
> 
> there are several films dealing with the 'japanese
> red army' or better the
> red armies for there existed several of them: the
> (kyosan shugisha domei)
> sekigunha, the rengo (or toitsu) sekigun, the arab
> sekigun later renamed
> nihon sekigun, as well as splinter groups like the
> maoist ML sekigunha or
> the sekigunha nihon iinkai. together with other
> groups such as the higashi
> ajia hannichi buso sensen that pursue(d) similar
> goals they are generally
> referred to as kagekiha (extremists).
> the news film SEKIGUN PFLP SEKAI SENSO SENGEN (red
> army pflp declaration of
> world war, 1971) by adachi masao and wakamatsu koji
> is the only film where
> the red army (in this case the sekigunha
> respectively the arab sekigun) is
> credited as co-editor (together with the pflp).
> fictional films from
> wakamatsu and adachi such as TERORU NO KISETSU
> (season of terror, 1969),
> SEIZOKU/SEKKUSU JAKKU (sex-jack, 1970), MARUHI JOSHI
> KOSEI KOKOTSU NO
> ARUBAITO (secret high school girl - side-job in
> ecstasy, 1972) or TENSHI NO
> KOKOTSU (angelic orgasm, 1972) do deal with
> terrorism as well. yamamoto
> shunya, another famous pink eiga director, made
> PORUNO SOKATSU KYOKI NO
> YOKUJO (passion of madness, 1972) after the asama
> sanso incident. after
> adachi left for lebanon in 1974 wakamatsu koji kept
> on referring to the
> sekigun in films like BAISHINFU MARIA (prostitute
> maria, 1975), SEIBO KANNON
> DAIBOSATSU (sacred mother kannon, 1977) or (briefly)
> in KISU YORI KANTAN
> (easier than kissing, 1989).
> although wakamatsu and other directors frequently
> related to the sekigun,
> there were almost no films that directly dealt with
> the japanese red army or
> leftist terrorism. the first films that directly
> addressed this important
> chapter of japanese history were takahashi banmei's
> HIKARI NO AME (rain of
> light, 2001) and harada masato'S TOTSUMYU SEYO!
> ASAMA SANSO JIKEN (the
> choice of hercules, 2002). i've heard that hasegawa
> kazuhiko who for more
> than 20 years had a filmproject about the rengo
> sekigun simmering is now
> finally realize it. in documentary film tsuchiya
> yutaka in ATARASHII
> KAMISAMA (the new god, 1999) sent amamiya karin to
> north korea to meet the
> sekigun members that hijacked the yodo-go in 1970.
> 
> well, we still have to wait for hasegawa's film and
> it doesn't seem likely
> that it will be made soon.
> 
> there are much more films about the student movement
> than about the sekigun.
> oshima's NIHON NO YORU TO KIRI (night and fog over
> japan) is certainly a
> good starting point. the frictions in the japanese
> left must also be
> considered when looking at the influence of the
> student movement on japanese
> cinema. there is not only a generation gap between
> say the so-called
> shochiku nouvelle vague directors, especially oshima
> and yoshida, and the
> older directors at shochiku, but also an ideological
> gap between the
> directors of the new left (e.g. oshima) and the
> directors of the old left
> (e.g. yamamoto satsuo, imai tadashi or shindo
> kaneto).
> 
> roland domenig
> institute of east asian studies
> vienna university
>  
> 
> 
> 
> 
> > Hi, all.
> > 
> > I am Nohchool Park at the University of Kansas.
> Does anybody have any
> > information on Japanese film about red army
> (Sekkigun) in the 1970s or
> > student movements in the 1960s? I am actually
> undertaking a research on how
> > the student movements in the 60s and 70s in Japan
> influenced on the content
> > and style of the films in the following
> generation. I suppose there must
> > have been a gap between old stylists such as
> Kurosawa and Mizoguzi, and the
> > post-60s directors like Imamura Shohei and Oshima
> Nagisa. Did the latter
> > directors ever critically reevaluated the older
> generation just as French
> > new wave directors dismissed their "Papa's films"
> as "a certain tendency"?
> > 
> > I heard that Oshima Nagisa made a film titled
> "Night and Fog in Tokyo" which
> > depicts the 60s' student movement in Japan. Any
> information about the films
> > and texts concerning the above topic will be of
> great help to me.
> > 
> > Have a good summer!
> > 
> >
>
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