略称：连环射杀魔 (1969)

A horrifying series of murders, committed by a teenaged killer in 1968, prompted a group of filmmakers to chart his path, capturing the things he might have seen before committing his crimes. Their result is this provocative, rarely-screened meditation on geography and society.

In 1969, Adachi, who had already made a number of important films, led a group of people, who were all in the vanguard of filmmaking in Japan, in making a film called “AKA. Serial Killer.” The camera eye mostly shows various landscapes across Japan, following the itinerary of a young informal worker, Norio Nagayama, who ended up committing a series of shootings in these places. Then a relatively known film director made a narrative film about Nagayama’s miserable upbringing and tried to make a statement about the social inequality that was supposed to have been responsible for his crime (The film is “Naked Nineteen -Hadaka no Jyuukyuu-sai-” directed by Kaneto Shindo, 1970). Meanwhile this group decided to pursue a totally different approach, which, precisely speaking, is neither a story film nor documentary. It is an attempt to see exactly what Nagayama saw along his itinerary looking for a better job, a better place, which never existed. The resulting film shows a series of terrains that have been transformed to the effect of losing genius loci or the singularities of place and became a series of postcard-like landscapes. This was the most straightforward critique of capital’s “real subsumption,” namely, the overall commodification of the everyday, which corresponds to the critique of “spectacle”...

A horrifying series of murders, committed by a teenaged killer in 1968, prompted a group of filmmakers to chart his path, capturing the things he might have seen before committing his crimes. Their result is this provocative, rarely-screened meditation on geography and society.

In 1969, Adachi, who had already made a number of important films, led a group of people, who were all in the vanguard of filmmaking in Japan, in making a film called “AKA. Serial Killer.” The camera eye mostly shows various landscapes across Japan, following the itinerary of a young informal worker, Norio Nagayama, who ended up committing a series of shootings in these places. Then a relatively known film director made a narrative film about Nagayama’s miserable upbringing and tried to make a statement about the social inequality that was supposed to have been responsible for his crime (The film is “Naked Nineteen -Hadaka no Jyuukyuu-sai-” directed by Kaneto Shindo, 1970). Meanwhile this group decided to pursue a totally different approach, which, precisely speaking, is neither a story film nor documentary. It is an attempt to see exactly what Nagayama saw along his itinerary looking for a better job, a better place, which never existed. The resulting film shows a series of terrains that have been transformed to the effect of losing genius loci or the singularities of place and became a series of postcard-like landscapes. This was the most straightforward critique of capital’s “real subsumption,” namely, the overall commodification of the everyday, which corresponds to the critique of “spectacle” by Guy Debord (The key word used in the debate provoked by the film was fukei in Japanese, which is commonly translated as “landscape.” As opposed to that, the music critic Yuzo Sakuramoto suggested to use “spectacle.”).

足立正生 Masao Adachi

男，生于1939年5月13日，福冈

他为大岛渚和若松孝二写下了不少杰出的剧本。

当他还是大学生的时候，他来到了若松的制片公司，要求加入，若松说：欢迎，我会好好折磨你的。足立写剧本很快，两天一个。后来若松回忆起来，说当时的确对他很狠，甚至说：如果下雨，就是你的错。

1971年，足立加入日本赤军，成为领袖之一，后来转战中东，1997年2月15日被黎巴嫩警方逮捕。2000年3月18日被黎巴嫩政府送回日本，在成田机场，足立被日本警方逮捕。