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Tokyo Reels: The Solidarity Image

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Essay Publish date: 10 sep Five rows and four columns of perfectly aligned photographs containing film reels cover the landing page of the Tokyo Reels website. Each photograph is similar: each reel is laid on top of graph paper onto which it casts a slight shadow; on the top left of each photograph, we see the title of the film that the reel contains written in English, with the production country and year listed underneath; on the top right, the same information written in Arabic; on the bottom left, in Japanese. Upon closer inspection, the uniqueness of each photograph reveals itself: while the circular reel gives a graphical match between all the photographs, the support structure of each one of them offer variations on the familiar pattern; some of the films have warped with age and hang slightly loose on the reel; a few of the reels have notes taped onto them, yellowed with age and written in different languages; and several have notes directly written onto them with marker pen. Beyond what the films contain, the page seems to suggest the very existence of these reels is of paramount importance for their evidentiary quality as objects, which in themselves hold a history. The precision and uniformity of their display is almost military: is this a militant image, perhaps of an archival, distribution or screening operation? She suggested they meet before he left Japan, and handed him a piece of paper, which included a list of films related to the Palestinian struggle. It turned out that Tanami was a guardian of these films, whose reels were stored in a small one-room archive inside a home on the outskirts of Tokyo. What these projects and the collection at their centre share with the world is a story of transnational solidarity between Palestine, the broader Arab region, and Japan in the s and s, supported and activated in part by the circulation of these films. While relatively small, the collection is a precious resource not only for the films themselves — all of which were digitally scanned at the Film Lab in KASK — but also for providing an entry point into a reflection on the shapes that solidarity between Palestine and Japan formed through cinema in this period. Active from to , the Red Army Faction committed themselves to armed struggle and began training for a worldwide revolution, which they believed could be initiated with Japan as a headquarters. After incidents with other university political factions and the police, the Red Army Faction went underground, eventually deciding to take their training abroad to Cuba. The remaining members in Japan continued their armed struggle but the group split into two in In Palestine, they hoped to launch a global revolution that would eventually reach Japan. Between the Anpo protests and the armed struggle in alignment with Palestinian resistance, cinema actively contributed to activism in Japan, not only as a tool for documentation but also to recruit support for various causes and even agitate. After joining Nagisa Oshima to screen their films at the Cannes Film Festival, film-makers Koji Wakamatsu and Masao Adachi travelled to Lebanon to make a film in support of the Palestinian resistance. The resulting film, Sekigun-P. While the Zengakuren likely expected a film to commemorate Kanba and spur the viewers into communal action, VAN provided something entirely different, resulting in a work that goes against what a political film might entail for most. At the anniversary demonstration, VAN not only screened the film — which included documentation of the protest and re-enactments of scenes of violence committed by the riot police against the protestors — but overlapped its projection with 35mm slides alternating between a portrait of Kanba and paintings of the devil. The projection was further accompanied by a discordant soundtrack of political speeches by opposing factions, all deliberately brought together to incite confusion, anger and further protest. After being extradited to Japan together with Adachi and two other JRA members in , he was sentenced to life imprisonment for his role in the seizing of the French Embassy in The Hague in the Netherlands, and died in prison late By the early s, Japanese civilian support for political activism had dwindled. The latter was broadcasted live on television for ten consecutive hours accruing a record number of viewers, many of whom watched in disbelief where student activism, which once existed with widespread support, had ended up. The footage is accompanied by an explanatory voice-over by the narrator Akira Ishino, delivered in a calm monotone, familiar in the evocation of neutrality we are used to hearing in news reporting. Japan did not recognise Palestine as a sovereign state at this time. The Japanese versions of Why? Lebanon War, Why? For Solidarity, Japan and Wakamatsu Production, presumably due to its circulation in Japan before the opening of the PLO office the following year, and was distributed by Wakamatsu Production. The films in the collection that were made outside of Japan feature Japanese subtitles or a Japanese voice-over, indicating at least the intent for the films to receive local Japanese distribution. The film was distributed by Cinesell Japan, Inc. Tracing in such ways the credits and film data in the reels and on the notes taped or scribbled on them provides further insights into how these films came into being and circulation within Japan. The Japanese version of the United Nations Information Centre production Beyond the War was produced by Iwanami Productions, a documentary production company for educational, science and public relation films with a rich history of launching the careers of Noriaki Tsuchimoto, Shinsuke Ogawa, Susumu Hani, Kazuo Kuroki and Sumiko Haneda. NDU, within the Japanese documentary landscape, is therefore emblematic of the shift away from local struggles to an international ethos in Japanese political activism of this period. Between NHK, Iwanami Productions and NDU, the various links established within the Japanese documentary community map the widespread and variegated nature of forms of solidarity with Palestine which were then expressed and explored. Japanese iterations of existing works, together with the layers of subtitles and dubbing in several of the films in the Tokyo Reels collection, give material presence to transnational solidarity as an ongoing dialogue, particularly as it pertains to the Palestinian struggle that remains in progress. While film archives may give off the impression of being the guardians of complete works, it is more often the case that they contain traces, records and versions of films that together resist the notion of a final, complete work. This was further exemplified in the installation of Tokyo Reels at documenta fifteen where the entire scan, including the sprocket holes and optical soundtracks, were left intact and visible. In his film R21 , Yaqubi approaches Tokyo Reels as an open-ended collection and his film-making as a conversation with it. The title announces the film as the latest and twenty-first addition to the collection of twenty reels. Much in the same way that the Japanese filmic iterations converse with their originals, his editing, and his choices of where to provide context and not, set up a dialogue. This is most striking in his inclusion of sections of Beirut , a Japanese film that captures the immediate aftermath of the Sabra and Shatila massacre of mostly Palestinian and Lebanese Shia Muslim civilians, from 16 to 18 September , perpetrated by the Lebanese Forces, one of the main Christian militias in Lebanon, and supported by the Israel Defense Forces, following the Israeli invasion of Lebanon in June the same year and only weeks after the withdrawal of the PLO. Beirut is the closest a work in the Tokyo Reels collection gets to Direct Cinema, as it involves first-person camerawork walking around the surrounding area of the refugee camp. As the film-maker encounters one dead body after another laying on the ground, a voice-over by the director Ryuichi Hirokawa, spoken in English, recalls his thought process as he came to recognise the scale and deliberate nature of the killings while facing warning shots from soldiers. In the film, the camera is unflinching as it records the deceased, refusing to look away. When Yaqubi invokes these scenes in the film, the image blinks and cuts away as soon as we can recognise a lifeless body onscreen. The brief interruption of the black screen stages a momentary conversation between the two film-makers on the function of the image. Yaqubi, on the other hand, approaches the scenes with a distance in time of 40 years, at a moment when knowledge on and images of the massacre are widespread and readily accessible. Therefore, it seems that his decision to cut away is driven by a sense of ethics that resists exploiting the images of the dead. Not only as a rallying call but also with the knowledge that such images from the Palestinian struggle have only proliferated since, questioning the extent to which they have instigated political change. Still, both decisions by Hirakawa and Yaqubi are motivated by a desire for solidarity with the victims of the massacre and the Palestinian struggle more broadly. Tokyo Reels: The Solidarity Image. Courtesy Subversive Films. Presented at documenta fifteen as a ten-hour looped installation by the collective Subversive Film, and later as a feature documentary by Mohanad Yaqubi, the multi-faceted research and restoration project Tokyo Reels reconstructs the solidarity networks connecting Japan to Palestine between the s and s, through twenty 16mm films found in Tokyo in Still from R21 aka Restoring Solidarity, dir. Mohanad Yaqubi, Palestine, Belgium, Qatar Courtesy Mohanad Yaqubi. Cinema-as-Activism, Cinema-as-Document Between the Anpo protests and the armed struggle in alignment with Palestinian resistance, cinema actively contributed to activism in Japan, not only as a tool for documentation but also to recruit support for various causes and even agitate. Incomplete Struggle, Ongoing Dialogue Japanese iterations of existing works, together with the layers of subtitles and dubbing in several of the films in the Tokyo Reels collection, give material presence to transnational solidarity as an ongoing dialogue, particularly as it pertains to the Palestinian struggle that remains in progress. Courtesy: Subversive Films. Research Publications Projects Articles Events. Support About Contact Search.

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