A Japanese Village (Nippon-koku Furuyashikimura, 1980), by Ogawa Shinsuke’s radical film collective, Ogawa Pro, channels critical attention from dilemmas about how to represent subaltern populations to the profilmic perceptual and political difficulties of conflictual solidarity. Proposing that the demise of the farming village of Furuyashiki is objectively determined, Ogawa Pro explores the impact of this exigency on radical documentary's aspiration to solidarity. By dwelling on the perceptual shifts of the film rather than its situation of production as is often emphasized, it becomes possible to understand that Ogawa Pro's relations with farmers, like director Ogawa Shinsuke’s relations with his collaborators, are limited by exclusion of aggression and negativity from the acceptable registers of radical alliance. Unlike Furuyashiki farmers, Ogawa Pro and especially Ogawa Shinsuke sublimate perceptions of insolubility into reparative aesthetic structures. Nonetheless, Ogawa Pro’s project explores beyond the bounds of received notions of economy and justice, and calls for alternative filmic and political vocabularies beyond these bounds.


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pp. 34-55
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