風景論以後─

［Exhibition Guide］

AFTER THE LANDSCAPE THEORY
Sasaoka KeikoBorn in Hiroshima in 1978. Graduated from Tokyo
Zokei University. She has had many solo and groupexhibitions, including Sasaoka Keiko 2001–2007 (Tamada
Project, Tokyo; 2008), PARK CITY (Ginza Nikon Salon,
Tokyo; 2008), CAPE (Photographerʼs Gallery, Tokyo;
2010), Difference 3.11 (Ginza Nikon Salon, Tokyo;
2012), somewhere between me and this world: Japanesecontemporary photography (Tokyo Metropolitan Museumof Photography; 2012), and TANESASHI: Remembrance of
the Shore (Aomori Museum of Art; 2013). She was awarded
an honorable mention at the Vision of Contemporary
Art 2008 exhibition; the Newcomerʼs Award from the
Photographic Society of Japan in 2010; the Sagamihara
New Figure Encouragement Award in 2012; and the
Hayashi Tadahiko Award in 2014. Her photobooks
include PARK CITY (Inscript, 2009), EQUIVALENT (Rat
Hole Gallery, 2010), and Fishing (Kula, 2012). Booklets
include Remembrance (1–41) (Kula, 2012-13) and Shoreline(1–42) (Kula 2015–).
Endo Maiko
Film director and artist. Born 1981 in Helsinki and raisedin Tokyo. In 2000, Endo moved to New York where she
was primarily involved in music, performing as a violinist
in orchestras and bands, as well as providing music forfilms. In 2011, she directed her first film, the featurelength Japan-US coproduction KUICHISAN, which won
the grand prize at the Jihlava International Documentary
Film Festival in 2012. Since 2011, she has been based inTokyo. A second feature, the Japan-France coproduction
TECHNOLOGY, was completed in 2016. Her latest film,
the mid-length TOKYO TELEPATH 2020, was an official
selection of the International Film Festival Rotterdam. In
2021, she presented her first art film, a video installation
at Takuro Someya Contemporary Art. In 2022, her online
film X was streamed during the Yebisu International
Festival for Art & Alternative Visions. She is working on
her third feature.

0
As the 1970s began, Japanʼs widespread student movement had passed its peak,
while urbanization and homogenization advanced throughout the country; inthis context, landscape theory̶which saw the authority of the state and capitalmanifested within commonplace, everyday landscapes̶emerged as an influential
current of thought in photography and film. The discourse around landscape wasdriven by the film critic Matsuda Masao, whose essays were compiled in The
Extinction of Landscape (1971), whose cover featured a photograph by Nakahira
Takuma, a photographer who played a key role in formulating landscape theory. What
does it mean to engage with “landscape” now, a half-century later? Tracing a pathback to the late 1960s, we will reassess landscape theory, unravel various works oflandscape-related expression, and explore the potential for new avenues.

The streetscapes in every region and remote area appeared
only as homogenized landscapes.
Matsuda Masao, “City as Landscape,” Gendai no Me, 1970

1［2000 –］With the spread of smart phones and small cameras, it has become possible today foranyone to capture beautiful landscapes in photographs and video. At the same time,through social media, we share and consume enormous quantities of photographs
and videos, of everything from the ordinary landscapes of our daily lives to world
events such as natural disasters and war. In the present, flooded with myriad images,
it is challenging to confront the invisible things that lie behind the landscape, thehistory or memory of what might have been there. Sasaoka Keiko has photographed
extensively in and around Hiroshima Peace Memorial Park, encountering Hiroshima
as a ”park city” in her engagement with the realm of the invisible within landscape.
Endo Maiko has straddled fiction and nonfiction in her experiments with visualizing
the details of a wide variety of places and spaces. We will consider contemporary
landscape through the activities of these two artists.
Sasaoka Keiko│1_1 –1_19
PARK CITY, the series Sasaoka began photographing in and around the Hiroshima
Peace Memorial Park in 2001, has been regularly exhibited at photographersʼ gallery,
which Sasaoka established together with Kitajima Keizo and other photographers. She
published the photobook PARK CITY (Inscript) in 2009, and served as editor in 2014 for afeature in the galleryʼs periodical, photographersʼ gallery press no. 12, that examined andevaluated atomic bomb photographs from Hiroshima under the title “Photographs from
Ground Zero 1945–1952.” She has continued to visit Hiroshima and, through a variety
of approaches, photographic methods, and means of presentation, she has depicted
her hometown of Hiroshima as a park city. Street corners where faint traces of humanfigures remain in images taken with slow shutter speeds; riverbanks shown in reverse
negative-positive images; people crossing through the park in the dead of night, barely
seen in faint exposures. In recent work that integrates different photographs in one
print (montage), contemporary scenes are overlaid with old photographs taken before
the bomb was dropped in 1945. Sasaokaʼs posture is evident in this effort to draw out
and examine complex memories from the signs of people in the seemingly unchanged
landscape.
Endo Maiko│1_20
X was produced in 2022 as an “Online Film Project” during the 14th Yebisu International
Festival for Art & Alternative Visions; it was made from footages the artist filmed ofevents that unfolded before her eyes as she wandered around Tokyo. For this exhibition,
the videos that were updated daily during the course of the festival have been reedited
as a work for exhibition, which will also be accessible online for the duration of
the exhibition. Beginning with KUICHISAN (2011), Endo has released medium- tofeature-length films and installations that s straddle the border between fiction anddocumentary. While they are characteristically abstract, they are grounded in the feel andatmosphere of the concrete landscapes found in such places as Okinawa, Tokyo, India,
and Iceland. When she made X, she observed, “People believe that everyone has a ʻheart,ʼ
but it doesnʼt actually exist. It is a product of the imagination.” As such, this work was anexperiment to see what could be conveyed to the viewer by faithfully relating the ʻnaturally
spontaneousʼ movement of her own heart. She does not specify how one should readthe Japanese title (which can mean “empty” or “open,” among other meanings) or the
English title X, and the film itself can be seen as code for which a variety of meanings
can be substituted. The viewer is presented with what, at first glance, appear to be scenes
from entirely ordinary days, but within them lie possibilities for numerous discoveries.

2［1970 –2010］
Beginning in the late 1970s, during the long expansion and subsequent collapse of
the bubble economy in the ʻ80s and ʻ90s, a wide variety of noncommercial, personal
works were created in photography and film. Imai Norio began participating in the
Gutai Art Association while he was still in high school, when he began producing
sculptural objects; during the 1970s, he began using photographs, film, and video to
document the everyday landscape of his residential district in Osaka. Seino Yoshiko
worked as an editor of a fashion magazine in the late 1980s, before becoming aphotographer and making images of anonymous, mostly unpopulated landscapes.
Takashi Toshiko, after a period of activity in Tokyo during the 1990s, moved her baseto Itami in 2000, where she began the Itami series that focuses on landscapes rooted
in daily life.
Imai Norio│2_1 – 2_6
Imai became active as an artist in the mid-1960s, producing three-dimensional white
sculpted objects. After the dissolution of the Gutai Art Association, of which he was amember, he moved beyond sculpture to pursue visual expression using photographs,
film, and video. As he experimented with various visual media, around 1976 Imaibegan carrying a camera whenever he went out and habitually filmed on the streets.
Beginning with Red Light, scenes of traffic signals he encountered and photographed as
he moved about, many of these series were shot in spaces from his everyday life in the
Abenosuji district of Osaka. With Walking/Abenosuji, he coupled scenes around the traffic
signals with spots on a map of Abenosuji, producing a spatial trail of the course theartist walked. In Abenosuji, he used an 8mm camera to capture traffic lights alternating
between red and green, amidst people walking along the street, and cars and streetcars
crossing on the road. As epitomized by the title Landscape of Time/Abenosuji, which
captures instants of red lights and green lights in the same fame, Imaiʼs experiments
make visible the invisible time contained within everyday landscapes and, at the sametime, expose the complexity of the unchanging Abenosuji landscape.
Seino Yoshiko│2_7– 2_18
Seino established a reputation for her landscape photographs, shot with a mediumformat camera, and published a book of 60 photographs, The Sign of Life, in 2002. In
series comprised of photographs of nature and artifacts, one can find details of delicate
color in her tightly controlled compositions. From Emotional Imprintings, exhibited in
1999, through The Sign of Life, she maintained a unique sense of distance and tension
in her encounters with nature and buildings. These series, which feature landscapeswithin Japan, include photographs taken in Chiba, Ibaraki, Aomori, Aichi, Kochi,
and elsewhere, but at first glance it is difficult to identify the places, which retain ananonymity. Landscapes that are not bound to any specific place or country, for that very
reason, bring to mind everyday landscapes the viewer may have seen somewhere. “Ifphotographs have meaning, it is when they create something like a ʻpassageʼ. A sort ofʻpassageʼ is opened, and it is the viewer who decides what is at the far end of it. In otherwords, it is not closed, it is opened.” These words, included in the artistʼs posthumous
photobook, may be asking, At the moment a photograph is opened to the viewer, how dothey see it?
Takashi Toshiko│2_19 –2_22
The 12-part Itami series, begun in the summer of 2005, through the spring and summerof 2010. After moving her base to Itami, the self-taught filmmaker Takashi shot thisfootage of the landscape around her. Years before this, she began filming her daily life
with a Hi-8 video camera, as a kind of diary; after her mentor Fukuda Katsuhiko diedsuddenly in 1998, she completed her first two films, Ode I and Oishi Apartments, NishiTengachaya. The latter film was shot when she visited the town she lived in as a childafter a hiatus of more than 20 years. At that time she met two women, whom she andher partner visited again four years later; their reunion is documented in Blessed, theintersection of Takashiʼs own life with these women, who age amid the passage of time.
In the Itami series, when it appears that scenes of the artistʼs life are being portrayedthrough fixed compositions, the image zooms in and out, and the changing seasonsare depicted through natural landscapes and the noisy bustle of the streets in the town.
“When people leave, you can shout loudly and wave with all your strength as long as you
can still see them in the distance, but how can your voice reach people you can no longer
see? I donʼt know.” This scrolling text, inserted into the 10th part of the series, seemedto hint at the numerous human lives that pass through the scenes of the commonplace
everyday.

Imai Norio
Born in Osaka in 1946. A graduate of Osaka City HighSchool of Art and Industry, where he majored in Westernstyle painting. Professor emeritus at Seian University of
Art and Design. While still in high school, he studied
with Yoshihara Jiro, founder of the Gutai Art Association.
In 1964 he had a solo exhibition, Testimony of a 17-YearOld, at the Noonu Gallery in Osaka and participated in
the 14th Gutai Art Exhibition (Takashimaya, Osaka).
He became an official member of the association thefollowing year and was active until its dissolution in 1972.
Since then he has pursued a diverse range of activities,
producing art works and installations that incorporate
photography, video, and other new media, along withoutdoor works and public art.
Seino Yoshiko
Born in Tokyo in 1962. She entered the Chuo Koronsha
publishing house in 1987, where she worked as an
editor of the magazine Marie Claire. She began taking
photographs in the late ʻ80s and in 1995 quit her job tobecome a fulltime photographer. In 1999, she exhibited
Emotional Imprintings at Gallery Koyanagi (Ginza, Tokyo).
In 2002, she published The Sign of Life and the following
year had a solo exhibition of this series at Fotomuseum
Winterthur in Switzerland. She participated in manygroup exhibitions in Japan and abroad, including the
Yokohama Museum of Art. After she died, in 2009,
the photobook Everywhere, Gather Yourself, Stand was
published posthumously.
Takashi Toshiko
Born in Osaka; now lives in Itami, in Hyogo Prefecture.
She worked as assistant director on Fukuda Katsuhikoʼs
Higashi-Kurume, a Living Town in 1990. Director of theTokyo Lesbian and Gay Film Festival in 1992 and 1993.
She then wrote film and music reviews for various
publications and made personal documentaries, before
completing Ode I and Oishi Apartments, Nishi-Tengachaya
in 1998. Blessed was completed in 2001 and won a special
mention award at the Visions du Réel documentary film
festival in Nyon, Swizerland. Beginning in 2005, she held
Quarterly Takashi screenings of new work at Gallery Makiin Kayabacho, Tokyo; and beginning in 2009, Takashi
Time at Kobe Planet Film Archives. Recent films include
Wave: A Dancer (2016), Between Yesterday & Tomorrow:
Omnibus 2011/2016/2021 (2021), and Walk Slowly (2021).

3［1968 –1970］
As the political movements epitomized by the peak year 1968 entered an era oftransition, landscape theory was born, an immediate outcome of the productionof the film A.K.A. Serial Killer by Adachi Masao, Sasaki Mamoru, Matsuda Masao
and others. Nagayama Norio was the 19-year old perpetrator of a series ofmurders that occurred in 1968, and the film is comprised entirely of landscapesthat could have been seen by him, from the time of his birth until his arrest. Alsoin 1968, Nakahira Takuma joined Taki Koji and others in founding Provoke, thebroadly influential magazine that generated the are-bure-boke (rough, blurred,
out-of-focus) style of photography; Nakahira later rejected that style and, after
his involvement with landscape theory, moved on toward developing his uniquebody of work and theory of photography.

So, for the sake of the transformation that is to come,I gaze at everything precisely as “landscape” that
confronts me with hostility. And I wait: Next is the fire!
Nakahira Takuma, “Landscape,” Design, 1970

I realized, in short, it wasnʼt that we were seeing
landscapes, but rather we were being seen by thelandscapes we were trying to film.
Adachi Masao, “Regarding Landscape,” Kikan Shashi Eizo, 1970

Nakahira Takuma│3_1 – 3_7
Nakahira began photography after leaving his job on the editorial staff of Gendai
no Me (Contemporary Eye) in 1965. In November 1968, the first issue of Provoke, acoterie magazine of photography, essays, and poetry, was published. The idea forthe magazine came from Nakahira and Taki Koji, a critic who was then also taking
photographs; the other participants were the poet and art critic Okada Takahiko,
the photographer Takanashi Yutaka (then associated with Nippon Design Center);the photographer Moriyama Daido joined the group with the second issue. The
groupʼs photographs were dubbed are-bure-boke (rough, blurred, out-of-focus) andwere characterized by off kilter camera angles, unsteady compositions that didnʼt
use the cameraʼs viewfinder, indistinct outlines of the subjects, and grainy, highcontrast images. This style of expression represented a challenge to conventional
photographic aesthetics, and it had a great impact on that era that went beyond
the confines of photography. However, as the initial anti-photography radicalismof Provoke was popularized as simply a design style, Nakahira became increasingly
critical of bure-boke photography and began his involvement in formulatinglandscape theory, which saw landscape itself as a manifestation of authority.
Beginning in 1969, he had an ongoing series in Design, a magazine of design, art,and photography criticism; from February 1970, he titled the series Landscape, andhe ran his own photographs that documented scenes such as subway platforms,
underground shopping areas, people riding trains, bridge girders, buildings underconstruction, and a beach from the street, to which he added short texts.
Adachi Masao, Iwabuchi Susumu, Nonomura Masayuki,
Yamazaki Yutaka, Sasaki Mamoru, Matsuda Masao│3_8
Nagayama Norio was dubbed a “serial killer” after committing murders in Tokyo,
Kyoto, Hakodate, and Nagoya in October and November, 1968. A.K.A. Serial Killer
depicts his life, from his childhood to the time of his arrest at age 19, using nothing
but the landscapes that he would likely have seen during those years. The film
was made by the director Adachi Masao, along with the critic Matsuda Masao,
screenwriter Sasaki Mamoru, producer Iwabuchi Susumu, and the directors ofphotography Nonomura Masayuki and Yamazaki Yutaka. The music was supervisedby music critic Aikura Hisato, with performances by drummer Togashi Masahikoand saxophonist Takagi Mototeru. This film gave birth to “landscape theory” andthe subsequent debate that centered on Matsuda and othersʼ analysis, but the public
release of the film itself was delayed intentionally by the producers until 1975. Long
takes of urban space̶homes, shops, and factories, along with freeways, ports,
and the full range of transportation networks̶track the unfolding landscape,accompanied by tension-filled music. The aim was to focus the eye solely on thehomogenized landscape, which separates the film from auteurist aestheticism andfrom the realism of established documentary filmmaking.

Nakahira Takuma
Born 1938 in Tokyo; died in 2015. After graduating from the Tokyo
University of Foreign Studies with a major in Spanish, he joined theeditorial staff of the general-interest magazine Gendai no Me. In thecourse of his work there, he met the photographer Tomatsu Shomei,
which spurred his interest in photography. He participated inplanning the exhibition A Century of Japanese Photography (1968–69;
Tokyo, Nagoya, Osaka, Niigata). From that time, he began writing
about photography and film for a variety of publications. In 1968, hestarted the magazine Provoke, which carried the tag line “Provocative
Resources for Thought,” along with Taki Koji, Okada Takahiko,and Takanashi Yutaka; Moriyama Daido joined from the second
issue; a third issue was published, followed finally by a book thatsummed up their efforts, Mazu Tashikarashisa no Sekai wo Sutero(First Discard the World of Pseudo-Certainty; 1970); the groupthen disbanded. In 1969, he won the new artist award from theJapan Photo Critics Association, and the following year publishedhis first photobook Kitarubeki Kotoba no Tame ni (For Languages
to Come). In 1971 he exhibited at the Paris Biennale. In 1973,
he published a book of essays on photography, Naze, Shokubutsu
Zukan ka (Why an Illustrated Botanical Dictionary?). In 1977, hepublished Kettō Shashin-ron (Dueling Theories of Photography),
together with Shinoyama Kishin. Soon after, he collapsed fromacute alcohol poisoning, causing him to lose much of his memory.
He was able to return to work, publishing Aratanaru Gyōshi (Fresh
Gaze) in 1983 and continuing to work as a photographer until his
physical condition deteriorated in 2011. Later publications include
Adieu à X (1989); Hysteric Six: Nakahira Takuma (2002), a book of
exclusively color photographs; Documentary (2011); and Okinawa(2017). In 2003, his first substantial solo exhibition, Degree Zero̶
Yokohama was held at the Yokohama Museum of Art. An exhibition,
Provocative Relationship: Moriyama Daido x Nakahira Takuma, washeld at the Museum of Modern Art, Hayama.
Adachi Masao
Born in 1939. While still a student at Nihon University College ofArt, Adachi garnered attention with his film Closed Vagina (1963).
He joined Wakamatsu Kojiʼs independent film production company,
producing numerous scripts for pink films, including Go, Go, Second
Time Virgin (1969), while making his own independent films, such
as Galaxy (1967). After co-directing Red Army/P.F.L.P.: Declaration ofWorld War (1971), Adachi left Japan in 1974 and devoted himself tothe struggle for the liberation of Palestine. Following his extradition
to Japan in 2001, he directed Prisoner/Terrorist (2007), Artist of
Fasting (2016), and Revolution+1 (2022). Retrospectives of Adachiʼswork have been held by the Cinémathèque Française, the Harvard
Film Archive, and the International Film Festival Rotterdam, among
others.
Iwabuchi Susumu
Born in 1945, died in 2008. After heading the student movement
committee at the Nihon University College of Art, he joined
Wakamatsu Productions, where he worked as associate producer
and assistant director.
Nonomura Masayuki
Born in 1941. After participating in the Film Study Club at the
Nihon University College of Art, he worked as a cameraman forfilms, television, and commercials.
Yamazaki Yutaka
Born in 1940. After participating in the Film Study Club at the Nihon
University College of Art, he went on to work as a cinematographer
and director. His works as a cinematographer include After Life
(directed by Koreeda Hirokazu, 1999), and Artist of Fasting (directed
by Adachi Masao, 2016). Directorial works include Torso (2010) andGodot of the Emotos (2019).
Sasaki Mamoru
Born in 1936, died in 2006. After working as editor on the journal
Kiroku Eiga (Documentary Film) for the Japan Documentary
Filmmakers Association, he joined Oshima Nagisaʼs production
company Sozosha and also wrote many screenplays for TV dramas.
His screenplays include Sing a Song of Sex (1967) and The Man Who
Left His Will on Film (1970), both directed by Oshima Nagisa.
Matsuda Masao
Born in 1933, died in 2020. After stints at the publishers Miraisha
and Gendai Shichosha, he worked as a freelance editor and critic.
Following involvement with such organizations as Jiritsu Gakko(Autonomous School), Tokyo Kodo Sensen (Tokyo Action Front),
and Revolt-sha (Revolution Press), he formed Hihyo Sensen (Critical
Front) with Adachi Masao, Sasaki Mamoru, Hiraoka Masaaki, andAikura Hisato, launching the second iteration of the film journal
Eiga Hihyo (Film Criticism) in 1970. Major books include Teroru no
kairo (Circuit of Terror; San-ichi Shobo, 1969), Bara to Mumeisha(Roses and the Nameless; Haga Shoten, 1970) and Fukei no shimetsu(The Extinction of Landscape; Tabatashoten, 1971).

4 The Origins of Landscape Theory
Landscape is a word we are all familiar with, and it has been discussed in a wide range ofcontexts and historical milieux; as such, it is difficult to define a theory of landscape per
se. The landscape theory that emerged in Japan around 1970 occupies a singular positionin this history, but despite the way it spread at the time and the more recent trend toreevaluate it in Japan and abroad, its theoretical content and the discourse around it are
not well known. In addition to A.K.A. Serial Killer, we will reexamine that discourse andits era through other films that played an important role in landscape theory, including
Oshima Nagisaʼs The Man Who Left His Will on Film and Wakamatsu Kojiʼs Go, Go Second
Time Virgin, and an extensive array of archival photographs and printed materials. Whiletheoretical differences among the participants increased the difficulty of understanding
the discourse, we hope to provide an opportunity to reconsider the political and complex
character contained within landscape theory.
Oshima Nagisa│4_1
The original title of The Man Who Left His Will on Film was Tokyo Fukei Senso (Tokyo LandscapeWar), with a subtitle of “The Story of a Man Who Died After Leaving His Will on Film;” itis considered the most experimental work of all of Oshimaʼs films. The “Tokyo War” in theJapanese title [Tokyo Senso Sengo Hiwa (A Secret Post-Tokyo War Story)] was an organizing slogan
of the Red Army Faction of the Communist League, which emerged from the Zenkyoto student
movement. Based on a doctrine under which the organization would take the lead in an armed
uprising during the preliminary stages of a revolution, the Red Army Faction called for a Tokyo
War and an Osaka War in September 1969. However, though the filmʼs title derived from theslogan, it is the “secret post-war story,” a complex work laden with philosophical questions. The
script was a collaboration between Sasaki Mamoru (who wrote the script for A.K.A. Serial Killer)
and a young filmmaker who was then garnering attention, Hara Masataka (later Masato). The
idea of a man leaving a will was inspired by Tenchi Suijaku-setsu (The Theory of the Debilitationof Heaven and Earth, 1968), a film produced by Group Posi-Posi, a film study group at Takehaya
High School in Tokyo, and members of that group played the principal roles in the film. Driven
by visions of a film-obsessed friend who took his camera and filmed Tokyo landscapes before
jumping to his death, the main character wanders around the city in search of these samelandscapes. At the time of its release in June 1970, A.K.A. Serial Killer had not yet been publicly
screened, so this film came to be identified as the representative landscape film, sparking
the debates over landscape theory. The film was produced by the Art Theatre Guild, a greatly
influential player in the history of Japanese film that had been involved in the production anddistribution of noncommercial art films since 1961. The trailer was made by the cowriter of thefilm, Hara.
Wakamatsu Koji│4_2
From the early 1960s, adult films that primarily depicted sex began to be called “pink films”
and were produced with low budgets by production and distribution companies outside of
the major studios. Wakamatsu, who made his debut in 1963 with Sweet Trap, founded an
independent production company in 1965, enlisting Adachi Masao, Yamatoya Atsushi, andother young filmmakers and crew. They produced many low-budget, highly motivated films,
with an experimental style that went beyond the bounds of the pink film genre to addressthemes of human sex, violence, and resistance to authority. In “Sex as Landscape” (1969), theessay in which Matsuda Masao first used the term landscape, he discussed the concept of thelocked room in several of Wakamatsuʼs films, concluding that even the act of sex, which isextremely personal and internal, can be subsumed by the external landscape. In Go, Go Second
Time Virgin, with a script by Deguchi Izuru (a common pseudonym, here used by Adachi Masao
and Komizu Kazuo), sex and death are reexamined through the story of a teenage girl who begs
to be killed and a teenage boy who rejects everyone around him. As the youths spend two nights
together on the roof of a building, the urban landscape of the Harajuku district of Tokyo distills
the oppressive conditions of the changing era. Wakamatsuʼs films are often violent and depict
extreme sex, and they are sometimes criticized as misogynistic, but many of the stories depict
socially and politically oppressed women or the main male characters taking revenge against
paternalistic male authority figures. Additionally, though pink film is a male-oriented genre, hisfilms actively addressed themes such as womenʼs sexual autonomy and liberation, procreation
and reproduction.
Wakamatsu Production│4_3
In response to the international revolutionary movement and struggles that began in the late1960s, Adachi and Wakamatsu went to the Lebanese capital of Beirut on their way back from the1971 Cannes International Film Festival. There they worked with the Red Army Faction, which
was active in the area, and the P.F.L.P. to produce a news film, Red Army/P.F.L.P.: Declarationof World War for the international revolutionary movement; the film depicted the daily livesof Palestinian guerrillas. This news propaganda documentary, which explained the armed
struggle for popular liberation, employed avant-garde techniques and marked the transition oflandscape theory into theories of media and reportage. The film was not released theatrically;
instead it was brought to Japanese universities and elsewhere by volunteers mobilized into afilm-screening campaign. During this campaign, Adachi commuted between Japan and the
Middle East, and after August 1974 he left Japan entirely to join the Palestinian struggle.

For me,How can one die in the 1970s?
is my answer to the question,
How can one live!
Oshima Nagisa, “How to Die in the 1970s,” Yushu Eiga, 1970

Oshima Nagisa
Born 1932 in Kyoto; died in 2013. He participated in
the theater movement while he was a student at Kyoto
University, then entered Shochiku in 1954. His debut asa director came with A Town of Love and Hope in 1959.
His next film, A Cruel Story of Youth (1960), garneredstrong support, especially among young audiences, andhe was dubbed the standard-bearer of the Shochiku
New Wave. The Sunʼs Burial (1960) depicted an uprisingamong lower-class workers in the Kamagasaki district ofOsaka. This was followed by Night and Fog in Japan, which
addressed the struggle over the US-Japan Security Treaty,
but immediately after it opened, the Japan Socialist Party
leader Asanuma Inejiro was assassinated, and the film
was pulled after just four days in distribution. Oshima
protested the stoppage and, after quitting Shochiku
the following year, he established his own independent
production company, Sozosha. However, the companyʼs
activities were constrained by the Five-Company
Agreement of the major studios; after producing two
films, The Catch (1961) and The Rebel (1962), Oshima
turned to television, radio, and PR films as new fields
for his work. Working with Nippon Television producer
Ushiyama Junichi, he made The Forgotten Imperial Army
(1963), which documented the governmentʼs failure to pay
pensions to ethnic Korean veterans of the Pacific War, asa way of depicting the problems of Japanese imperialism
and responsibility for the war. Oshima and Ushiyama
collaborated on numerous social issue documentaries,
Sozosha productions that shifted the horizons of television
programming, including The Tomb of Youth (1964) and theshort film The Diary of Yunbongi (1965). He continued to
explore possibilities for film production and distribution,
forging the foundation for ATG productions with Deathby Hanging (1968); with In the Realm of the Senses (1976)
and Merry Christmas, Mr. Lawrence (1983), his films foundaudiences in the West. Oshima films related to landscapetheory include Sing a Song of Sex (1967), Diary of a Shinjuku
Thief (1969), and Boy (1969) as precursors of The Man Who
Left His Will on Film, and later, Dear Summer Sister (1972)
was a road movie filmed in Okinawa after its reversion to
Japanese control.
Wakamatsu Koji
Born 1936 in Miyagi Prefecture; died in 2012. After
dropping out of high school, he worked a number of jobs,
eventually becoming an assistant director and assistantproducer; he made his debut as a pink film director with
Sweet Trap in 1963. In 1965 he established Wakamatsu
Production. He gained a reputation in Japan and abroad
for films that were fueled by anger toward authority
and the establishment. United Red Army (2008) screenedat the Berlin International Film Festival, where it won
the NETPAC Award for best Asian film and the CICAE(International Confederation of Art Cinemas) Award. Films
related to landscape theory include Go, Go Second Time
Virgin (1969), Running in Madness, Dying in Love (1969),
Season of Terror (1969), Sex Jack (1970), and Ecstasy of theAngels (1972); as a response to landscape theory 30 years
later, he made Cycling Chronicles (2004), whose original
title was 17-sai no Fukei (Landscape of a 17-Year-Old).

It was because, above all,we became conscious ofthat very landscape as hostile“authority” itself.
Matsuda Masao, “Sex as Landscape,” Asahi Journal, 1969

List of Works andDocuments［Works］

Imai Norio

Sasaoka Keiko
PARK CITY
Collection of the artist

2_1
Abenosuji
1977
Single-channel projection (original 8 mm)
Silent, color, 22 min.

1_1
2018
Ink-jet print
540×720
1_2
2019
Ink-jet print
1000×1330
1_3
2022
Ink-jet print
540×720
1_4
2023
Ink-jet print
540×720
1_5
2022
Ink-jet print
540×720
1_6
2023
Ink-jet print
540×720
1_7
2023
Ink-jet print
540×720
1_8
2017
Ink-jet print
1000×1330
1_9
2017
Ink-jet print
1000×1330
1_10
2014
Ink-jet print
1000×1330
1_11
2022
Ink-jet print
1000×1330［Notes］

Plate captions appear in the following order:
Exhibit number, artist name, series name/name ofwork or document, year of production, material/
technique, measurements (h×w×d mm)/duration,collection. * indicates a supplement. The captions
for documents do not indicate each owner and theEnglish translations of each title.
● All works and documents not otherwise
designated are from Tokyo Photographic Art
Museum.
● The order of the exhibits does not necessarily
correspond to the order of this list.
● Some exhibits are subject to change.

1_12–19
2001–09
Gelatin silver print
315×315
Endo Maiko
1_20
X
2022
4K Single-channel projection (HD、2K、4K)
Sound, color

2_2
Red Light-A
1976
Chromogenic print, gelatin silver print
1057×754
2_3
Red Light-B
1976
Chromogenic print
1057×754
2_4
Red Light-C
1976
Chromogenic print
1057×754
2_5
Red Light-D
1976
Chromogenic print
1057×754
2_6
Walking/Abenosuji
1976
Map, chromogenic print
582×760
Collection of the artist
Seino Yoshiko
2_7
Sumidagawa, Tokyo, from the Series Emotional
Imprintings
1996
Chromogenic print
375×550
2_8
Chiba, from the Series Emotional Imprintings
1996
Chromogenic print
372×727
2_9
Chiba, from the Series Emotional Imprintings
1997
Chromogenic print
372×727
2_10
Chiba, from the Series Emotional Imprintings
1997
Chromogenic print
372×727
2_11
Chiba, from the Series Emotional Imprintings
1997
Chromogenic print
373×6092_12
Chiba, from the Series Emotional Imprintings
1997
Chromogenic print
372×727
2_13
Chiba, from the Series Emotional Imprintings
1997
Chromogenic print
372×727
2_14
From the Series Emotional Imprintings
1997
Chromogenic print
371×727
2_15
From the Series Emotional Imprintings
1997
Chromogenic print
372×727
2_16
Okinawa,from the Series Emotional Imprintings
1998
Chromogenic print
375×507
2_17
A Concrete Wall, Chiba,
from the Series The Sign of Life
2001
Chromogenic print
376×609
2_18
A Vacant Plot, Tokyo,
from the Series The Sign of Life
2001
Chromogenic print
376×609
Takashi Toshiko
2_19
Itami 2006 WinterSingle-channel video
Sound, color, 21 min.
2_20
Itami 2006 Spring
Single-channel video
Sound, color, 26 min.
2_21
Itami 2008 Winter – 2009 Spring
Single-channel video
Sound, color, 41 min.

2_22
Itami 2009 Early Summer – Late Autumn
Single-channel video
Sound, color, 61 min.

[Running time]
10:00
11:05
12:10
13:15
14:20
15:25
16:30
(17:35)(18:40)(19:45)*( ) Thursday and Friday
only ( )*Thursday and Friday through 8/31

Oshima Nagisa
4_1
Trailer for Tokyo Senso Sengo Hiwa
(The Man Who Left His Will on Film)
1970
Single-channel video (original 35mm)
Sound, B＆W, 6 min.
Oshima Productions Ltd.
Wakamatsu Koji
4_2
Excerpts from Yuke Yuke Nidome no Shojo(Go, Go Second Time Virgin)
1969
Single-channel video (original 35mm)
Sound, B＆W/Color, 4 min.
Wakamatsu Production

Nakahira Takuma
Wakamatsu Production
3_1 – 2
Untitled
1968–69
Gelatin silver print
321×481
3_3
Untitled
1968–69
Gelatin silver print
481×321
3_4 –7
Untitled
1968–69
Gelatin silver print
321×481
Adachi Masao, Iwabuchi Susumu,
Nonomura Masayuki, Yamazaki Yutaka,
Sasaki Mamoru, Matsuda Masao
3_8
A.K.A. Serial Killer
1969
4K Single-channel projection(original 35mm)
Sound, color, 86 min.

[Running time]
10:00
11:30
13:00
14:30
16:00
(17:30)(19:00)*( ) Thursday and Friday
only ( )*Thursday and Friday through 8/31

4_3
Excerpts fromRed Army/P.F.L.P.: Declaration of World War
1971
Produced by Wakamatsu Production(Directed byAdachi Masao and Wakamatsu Koji)
Coedited by the Red Army (Red Army Factionof the Communist League) and
the P.F.L.P. (Popular Front for the Liberationof Palestine)Single-channel video (original 16mm)
Sound, Color, 7 min. 35 sec.
Wakamatsu Production

［Related Documents］

1
Matsuda Masao
Fukei no Shimetsu[The Extinction of Landscape],
Tabata Shoten
1971
135×195
Private Collection
2
Taki Koji, Nakahira Takuma（Co-ed.）
Mazutashikarashisa no Sekai wo Sutero:
Shahin to Gengo no Shiso [First Abandon theWorld of Pseudo-Certainty],
Tabata Shoten
1970
148×210
Private Collection
3
Nakahira Takuma
Naze Shokubutsu Zukan ka:
Nakahira Takuma Eizo Ron Shu[Why an Illustlated Botanical Dictionary?],
Shobun-sha
1973
135×193
4
Kikan Ken [Ken Quarterly], No.2
Shaken* Dialogue: Nakahira Takuma, Matsuda
Masao “For a Two-Headed Snake”
1970
188×227
Private Collection
5
Design, February, 1970,
Bijutsu Shuppan-sha* Series: Nakahira Takuma “Landscape”
1970
224×295
Private Collection
6
Provoke 1,
Provoke-sha
1968
210×210
7
Provoke 2,
Provoke-sha
1969
184×2458
Provoke 3,
Provoke-sha
1969
184×245
9
Kitarubeki Kotoba no Tameni[For a Language to Come],
Fudo-sha1970
215×310

10Gendai no Me, April, 1970,
Gendai Hyoron-sha* Listed: Matsuda Masao“City as Landscape”
1970
148×210
Private Collection
11
Kikan Shashin Eizo [Photo Image Quarterly],
Autumn, 1970,
Shashin Hyoron-sha* Discussion: Akasegawa Genpei,
Adachi Masao, Sato Makoto, Tone Yasunao,
Nakahira Takuma, Nakahara Yusuke,“Regarding Landscape”
1970
220×250
Private Collection
12
Adachi Masao, Eiga eno Senryaku[Strategy for Cinema],
Shobun-sha
1974
135×200
Private Collection
13
Nagayama Norio, Muchi no Namida[Tears of Ignorance],
Godo shuppan* Cover design: Akasegawa Genpei
1971
135×200
Private Collection
14
Nagayama Norio, Notebook No.1 for
Shi/Muchi no Namida[Poem/Tears of Ignorance]
1969
170×250
Nagayama Kodomo Kikin
Cooperation:
Municipal Otaru Literature Museum

18
Wakamatsu Koji, Screenplay for
Go, Go Second Time Virgin1969
175×245
Wakamatsu Production
19
Wakamatsu Koji, Screenplay for
Kyosojoshiko(Running Madness, Dying in Love)1969
175×245
Wakamatsu Production
20
Wakamatsu Koji, Screenplay for
Teroru no Kisetsu (Season of Terror)
1969
175×245
Wakamatsu Production
21
Wakamatsu Koji, Screenplay for
Tenshi no Bakusatsu(original title of the Tenshi no Kokotsu[Ecstacy of the Angels])
1972
175×245
Wakamatsu Production
22
Wakamatsu Koji,
Overseas press flyer for Wakamatsu works
1971
241×140
Wakamatsu Production
23
Wakamatsu Koji, Still photographs
by Wakamatsu Production;
Go, Go Second Time Virgin, 1969;
Season of Terror, 1969;
Sex Jack, 1970;
Ecstacy of the Angels, 1972
1969-1972
Dimensions Variable
Wakamatsu Production

15
Nagayama Norio, Notebook No.2 for
Shi/Muchi no Namida[Poem/Tears of Ignorance]
1969
170×250
Nagayama Kodomo Kikin
Cooperation:
Municipal Otaru Literature Museum

24
Eiga Hihyo, September, 1972, Shinsen-sha* Cover design + gravure, “Sakura Graph”:
Akasegawa Genpei
1972
257×182
Private Collection

16
Flyers for A.K.A. Serial Killer
1975
260×373
Private Collection

25
Poster for the
Red Army/P.F.L.P.: Declaration of World War* Design: Akasegawa Genpei
1971
730×515
Private Collection

17
UNDERGROUND CINEMATHQUE
Special issue,
Special feature on A.K.A. Serial Killer,
Underground Center
1975
177×248
Private Collection

26
Oshima Nagisa,
Screenplays for
The Man Who Left His Will on Film
(Review draft, Preparatory draft, Final draft)1970
175×245
Oshima Productions Ltd.
Cooperation: National Film Archive of Japan

27
Oshima Nagisa, Notebook for
The Man Who Left His Will on Film1970
175×245
Oshima Productions Ltd.
Cooperation: National Film Archive of Japan

33
Asahi Journal, December 28, 1969,
Asahi Shimbun-sha* Listed: Matsuda Masao “Sex as Landscape, ”
1969
257×182
Private Collection

28
Oshima Nagisa, Overseas press flyer for
The Man Who Left His Will on Film
1971
555×240
Oshima Productions Ltd.
Cooperation: National Film Archive of Japan

34
Eiga Hyoron, May, 1970, Eiga Shuppan-sha* Listed: Fukuda Mizuho, “Is Nagayama an
unware terrorist ?”1970
210×148
Private Collection

29
Yushu Eiga, July 1,1970,
Yushu Eiga Appreciation* Listed: “How to die in the 1970s”
1970
380×267
Private Collection

35
Eiga Hihyo, October, 1970, Shinsen-sha* First issue + Listed: Adachi Masao,“Landscape as a great legacy,”1970
257×182
Private Collection

30
Oshima Nagisa,
Still photographs by Sato Genyo;
Boy, 1969;
The Man Who Left His Will on Film,1970
1969 –1970
Dimensions variable
Oshima Productions Ltd.
Cooperation: National Film Archive of Japan36
Eiga Hihyo, January, 1971, Shinsen-sha* Series: Text by Matsuda Masao,
Photo by Nakahira Takuma,“Landscape”
1971
257×182
Private Collection

31
Oshima Nagisa, Draft screenplay for Boy
1969
175×245
Oshima Productions Ltd.
Cooperation: National Film Archive of Japan
32
Oshima Nagisa, Press sheet for Boy
1969
258×180
Oshima Productions Ltd.
Cooperation: National Film Archive of Japan37
Eiga Hihyo, April, 1971, Shinsen-sha* Series: Text by Matsuda Masao,
Photo by Nakahira Takuma,“Landscape”
1971
257×182
Private Collection
38
Bujutsu Techo, August, 1971
Bijutsu Shuppan-sha* Listed: Matsuda Masao, “The Extinctionof Landscape”
1971
210×148
Private Collection“Landscape” is, metaphorically, like waves in the sea, ordinary places thatappear everywhere in the lives of the masses. At times it gently envelops the
key actors, and at other times it is a severe space that bites into one of themwith the jaws of death. But we have now come to the extremity where, unless
Japanese students can discover a sense of self that allows them to survive within
this landscape, they will be unable to discern the powerful controlling authoritythat lies on the far side of landscape….
In this sense, itʼs fair to say that progressive Japanese student youth are turningthemselves from the extraordinary phase of the battle, aimed at a utopia that
doesnʼt exist anywhere, toward an ordinary phase of the battle, concerned withhow one can resist and transcend the landscapes that exist everywhere.
Matsuda Masao, “Why a Landscape War?” Eiga Hihyo, July 1971; 41.

［Exhibition］

Curated by

Tasaka Hiroko (Tokyo Photographic Art Museum)
Curatorial cooperation

Hirasawa Go
Curatorial assistance

Kobayashi Maiko, Chiu Yu-Hsuan,
Fujimura Satomi(Tokyo Photographic Art Museum)
Muroi Momo
(Intern, Tokyo Photographic Art Museum)
Public relations

Ikeda Ryoko, Hirasawa Ayano,
Suzuki Ayako, Yagyuu Miyuki(Tokyo Photographic Art Museum)
Graphic design

Kimura Toshimasa
Abe Genki（Tanuki）
Exhibition design

Nishizawa Tetsuo, Sato Kumaya(Tezzo Nishizawa Architects)
Proofreader

Kurokawa Noriyuki
Matting and framing

Photo Gallery International
Construction

Super Factory
Technical Support

Tanaka Shinji
Display

Yamato Transport Co., Ltd.
Lighting design

SAMSARA
After the Landscape Theory[Exhibition Guide + List of Works and Documents]
Published August 2023
Design: Kimura Toshimasa
Editors:
Tasaka Hiroko (Tokyo Photographic Art Museum)Hirasawa Go / Kurokawa Noriyuki

People have passed,
and landscape has also passed.
Matsuda Masao, “The Extinction of Landscape,”
Bijutsu Techo, 1971

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Tokyo Metropolitan Foundation for History and Culture
Yebisu Garden Place, 1 -13 -3 Mita, Meguro-ku,
Tokyo 153-0062, Japan
https://topmuseum.jp/© Tokyo Photographic Art Museum, August, 2023