基本介紹
- 中文名：略稱：連環射殺魔
- 外文名：略稱・連続射殺魔
基本資料,劇情簡介,
基本資料
導演: 足立正生
類型: 劇情 / 紀錄片 / 犯罪
製片國家/地區: 日本
語言: 日語
上映日期: 1969
片長: 86 分鐘
又名: A.K.A. Serial Killer / A.K.A. 連環殺手
IMDb連結: tt0239925
劇情簡介
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，生於1939年5月13日，福岡
他為大島渚和若松孝二寫下了不少傑出的劇本。
當他還是大學生的時候，他來到了若松的製片公司，要求加入，若松說：歡迎，我會好好折磨你的。足立寫劇本很快，兩天一個。後來若松回憶起來，說當時的確對他很狠，甚至說：如果下雨，就是你的錯。
1971年，足立加入日本赤軍，成為領袖之一，後來轉戰中東，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，在成田機場，足立被日本警方逮捕。
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，生於1939年5月13日，福岡
他為大島渚和若松孝二寫下了不少傑出的劇本。
當他還是大學生的時候，他來到了若松的製片公司，要求加入，若松說：歡迎，我會好好折磨你的。足立寫劇本很快，兩天一個。後來若松回憶起來，說當時的確對他很狠，甚至說：如果下雨，就是你的錯。
1971年，足立加入日本赤軍，成為領袖之一，後來轉戰中東，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，在成田機場，足立被日本警方逮捕。
