Sharjah Art Foundation Library

The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years Without Images (Record no. 3455)

MARC details
000 -LEADER
fixed length control field 02491nam a2200217Ia 4500
001 - CONTROL NUMBER
control field 3455
003 - CONTROL NUMBER IDENTIFIER
control field OSt
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20241008143217.0
008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION
fixed length control field 230919s9999 xx 000 0 und d
040 ## - CATALOGING SOURCE
Transcribing agency --
245 #4 - TITLE STATEMENT
Title The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years Without Images
Statement of responsibility, etc. / Eric Baudelaire
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Place of publication, distribution, etc. Madrid;
Name of publisher, distributor, etc. Galeria Juana de Aizpuru;
Date of publication, distribution, etc. 2012
300 ## - PHYSICAL DESCRIPTION
Extent 20p;
Dimensions 23x17cm
520 ## - SUMMARY, ETC.
Summary, etc. The political and personal epic of the Japanese Red Army is recounted as an anabasis—a journey that is both a wandering towards the unknown and a return towards home. From Tokyo to Beirut amid the post-1968 ideological fever, and from Beirut to Tokyo at the end of the Red Years, the thirty-year trajectory of a radical fringe of the revolutionary left is recounted by two of its protagonists. One of them is May Shigenobu, daughter of the founder of the small group, who witnessed it closely. Born in secrecy in Lebanon, a clandestine life was all she knew until age 27. But a second life began with her mother’s arrest, and May’s adaptation to a suddenly very public existence. The other is Masao Adachi, the legendary Japanese experimental director who gave up cinema to take up arms with the Japanese Red Army and the Palestinian cause in 1974. For this theorist of the fûkeiron (a movement of Japanese filmmakers who filmed the landscape to reveal ubiquitous structures of power) his 27 years of voluntary exile were without images, since those he filmed in Lebanon were destroyed on three separate occasions during the war. It is therefore words, testimony, memory (and false memory) that structure The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years without Images. Two intersecting accounts mix personal stories, political history, revolutionary propaganda, and film theory. Thirty years of self-invention in which the recurring theme is the question of images: public images produced by the media in response to terrorist operations planned for the television era, and personal images that are lost or destroyed amid the chaos of the struggles. Adopting an experimental documentary format, the accounts of May Shigenobu and Masao Adachi overlay new fûkeiron images, filmed in Super 8 in the contemporary landscapes of Tokyo and Beirut.
546 ## - LANGUAGE NOTE
Language note English; Korean
650 ## - SUBJECT ADDED ENTRY--TOPICAL TERM
Topical term or geographic name entry element N4390-5098 Exhibitions
9 (RLIN) 5533
700 ## - ADDED ENTRY--PERSONAL NAME
Personal name Fusako Shigenobu
9 (RLIN) 922
700 ## - ADDED ENTRY--PERSONAL NAME
Personal name Masao Adachi
9 (RLIN) 923
700 ## - ADDED ENTRY--PERSONAL NAME
Personal name May Shigenobu
9 (RLIN) 924
942 ## - ADDED ENTRY ELEMENTS (KOHA)
Koha item type Booklet w/o spine
Source of classification or shelving scheme Library of Congress Classification
Holdings
Withdrawn status Lost status Source of classification or shelving scheme Damaged status Not for loan Collection Home library Current library Date acquired Total Checkouts Full call number Barcode Date last seen Price effective from Koha item type
    Library of Congress Classification     Visual Arts SAF Reference Library SAF Reference Library 02/25/2020   N4390-5098 21.2311 3455 09/19/2023 09/19/2023 Booklet w/o spine

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