![]() ![]() Japanese archipelago and beyond was that, not only was Nagayama's What the filmmakers found as they were stalking Matsuda's every move through the Would have enveloped Nagayama from birth to the moment of his arrest in 1968. Nagayama's “homeland” only through depiction of the scenery that Instead, the collaborative documentary sought to discover The intention of illustrating an impoverished background that had “caused” It did not seek to reproduce a fixed set of determinant “conditions” with Serial Killer ( Ryakushō: Renzokuįilm was an unconventional project in a number of ways, but primarily in the sense that Notion of landscape, was the subject of the collaborative documentary film A.K.A. ![]() Nagayama, the teenage serial killer at the heart of the development of Matsuda's Materializing latent potentials of radical transformation throughout anĪll-encompassing-yet incomplete-totality of forces. Political imaginaries, perhaps even of novel kinds of desiring subjects, capable of Process that emerges through an embodied drifting within the circulatory flux of anĮssay traces an impermeable constellation of power in need of dramatically changed 4 Matsuda's notion of landscape is therefore not an aesthetic form derived from theįixed intervals between a representation and its viewer, but instead names a political Scale of displaced bodies and material processes, a structuring of desire and mediation,Īnd diffuse forms of power. Of capitalist state power, we find Matsuda making sensible an expanded, archipelagic Than regarding the city as merely an entirely legible symptom, situation, or condition Tracking the conceptual itineraries of “City as Landscape” reveals anĮffort to shift the political terrain in which this struggle was to be waged. Matsuda's writings, it must be regarded as only a part of his pursuit ofĮver-changing potentials for transformative politics-in other words, Thread that spans his critical praxis if film played a prominent role in Taken together, such texts render a consistent To 1973, we find a stunning array of critiques, themes, and radical modes of thoughtĪssembled through his editorial work. Journal Film Criticism ( Eiga hihyō) from 1970 Moreover, when we consider Matsuda's role as editor of the Ronshū, 1970) and Shoot the Daydream ( Hakuchūmu o ute, 1972), two collections of writings onĭiverse film cultures from around the world and Media of Impossibility ( Fukanōsei no media), a 1973 collection of essays on the Nameless ( Bara to mumeisha: Matsuda Masao eiga ![]() Third World thinkers such as Che Guevara and Frantz Fanon Roses and the Kairo, 1969), a collection of writings on the political tactics of radical ![]() Writings related to landscape theory, The Extinction of Landscape ( Fūkei no shimestu), Matsuda's other publicationsįrom this period include The Circuit of Terror ( Teroru no Radical film criticism of the late 1960s and early 1970s, it is worth noting, if onlyīriefly, the diverse scope of his writings. 1 While Matsuda is recognized for his prominent role in Writing career as a critic and activist in the late 1960s. Matsuda worked as an editor for a variety of publishers before commencing a prolific Treaty of Mutual Cooperation and Security between the United States and Japan in 1960, After a period of active participation in the party's radicalįactions, leading up to the nationwide political struggle over the revision of the (1895–1945), and he joined the Japanese Communist Party in 1950, while still in Matsuda was born in 1933 in Taipei, during the period of Japanese colonial rule of Taiwan ![]()
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