After a career ranging from politicised “pink films” with Wakamatsu Productions and developing the fūkeiron
(landscape theory) of filmmaking, to propaganda for the PFLP and then
joining Fusako Shigenobu’s Japanese Red Army (a period referred to
rather euphemistically by the Asian Arts Theatre blurb as “28-year-long
activities in Lebanon devoted to the independence of Palestine”).
He was ultimately arrested in Lebanon and extradited to Japan in
2000, where he served a short sentence. Perhaps no one more than Adachi
represents the conflict between being an activism and being an artist,
and the attempt to reconcile the two.
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