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The United Red Army on Screen: Cinema, Aesthetics and The by Christopher Perkins

By Christopher Perkins

This booklet investigates how movies made concerning the URA because the Nineties have engaged with, reproduced and contested cultural stories of the corporation, discussing how administrators have addressed questions of narrativization, trauma, intergenerational connection, and political subjectivity as they have interaction within the politics of cultural reminiscence on display.

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Additional info for The United Red Army on Screen: Cinema, Aesthetics and The Politics of Memory

Example text

Those with arrest warrants managed to escape, leaving two members of the group behind (in the end, it took nine hours to finally arrest the pair). After reading in the newspapers that their mountain base had been discovered, Mori and Nagata returned to the mountains, arriving on the 17th, where they found the rest of the group already gone. Soon after the police arrived, and although Mori and Nagata offered some resistance, they were easily overwhelmed and arrested. The remaining nine members of the group crossed the mountains dividing Gunma and Nagano prefectures and arrived in Lake Newtown, a development of mountain lodges aimed the burgeoning middle classes produced by Ikeda Hayato’s income doubling scheme.

93–102).

89). Despite this fierce national opposition Kishi, having ordered police to physically remove opposition politicians from the debating chamber on 19 May 1960, pushed through the revised treaty, which would be automatically ratified 30 days later. The subsequent sense of constitutional crisis provoked by Kishi’s tactics, compounded by a forthcoming visit by US President Eisenhower, which was regarded as symbolic of Japan’s integration into US military policy in Asia, provoked some of the biggest protests in Japanese history.

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