21 DÍAS EN UBUWEB: DÍA 9 [ESCRITURA NO-CREATIVA] - ESCRITURA NO-CREATIVA
DÍA 9: MARTES 9 DE FEBRERO 2016 http://www.ubu.com/film/pallieres_stein.html Is Dead (Portrait Incomplet de Gertrud Stein) (2000) http://ubu.com/film/adachi_red.html Masao Adachi & Kôji Wakamatsu – Sekigun-PFLP: Sekai Senso Sengen (The Red Army/PFLP: Declaration of World War) [1971] Japanese 1971 70 min Co-edited by Red Army (Red Army Faction of Japan Revolutionary Communist League) and PFLP (Popular Front for the Liberation of Palestine) In 1971, Koji Wakamatsu and Masao Adachi, both having ties to the Japanese Red Army, stopped in Palestine on their way home from the Cannes festival. There they caught up with notorious JRA ex-pats Fusako Shigenobu and Mieko Toyama in training camps to create a newsreel-style agit-prop film based off of the “landscape theory” (fûkeiron) that Adachi and Wakamatsu had developed. The theory, most evident at work in A.K.A. Serial Killer (1969), aimed to move the emphasis of film from situations to landscapes as expression of political and economical power relations.
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21 DÍAS EN UBUWEB: DÍA 9 [ESCRITURA NO-CREATIVA]

talleres de escritura

15 Mar 21 DÍAS EN UBUWEB: DÍA 9 [ESCRITURA NO-CREATIVA]

Posted at 15:56h in ubuweb by moon
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DÍA 9: MARTES 9 DE FEBRERO 2016

http://www.ubu.com/film/pallieres_stein.html

Is Dead (Portrait Incomplet de Gertrud Stein) (2000)

 

http://ubu.com/film/adachi_red.html

Masao Adachi & Kôji Wakamatsu – Sekigun-PFLP: Sekai Senso Sengen (The Red Army/PFLP: Declaration of World War) [1971]

 

Japanese

1971

70 min

Co-edited by Red Army (Red Army Faction of Japan Revolutionary Communist League) and PFLP (Popular Front for the Liberation of Palestine)

 

In 1971, Koji Wakamatsu and Masao Adachi, both having ties to the Japanese Red Army, stopped in Palestine on their way home from the Cannes festival. There they caught up with notorious JRA ex-pats Fusako Shigenobu and Mieko Toyama in training camps to create a newsreel-style agit-prop film based off of the “landscape theory” (fûkeiron) that Adachi and Wakamatsu had developed. The theory, most evident at work in A.K.A. Serial Killer (1969), aimed to move the emphasis of film from situations to landscapes as expression of political and economical power relations.

www.escrituranocreativa.com www.escrituranocreativa.es www.acorazado.org www.epsicologia.eu

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