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"En tant que créateurs, nous possédons d'une part la fermeté, la ténacité et l'hétérogénéité du corail et, de l'autre, la capacité de croissance des plantes héliotropes" (1967). Cinéaste révolutionnaire en lutte contre l'impérialisme, Masao Adachi a rédigé de nombreux écrits accompagnant son trajet engagé, dont presque trois décennies se déroulèrent dans la clandestinité et une part en prison : manifestes, chroniques, journaux, comptes rendus de livres, analyses d'oeuvres fraternelles (Kôji Wakamatsu, Nagisa Oshima, Jean-Luc Godard, Glauber Rocha, Jonas Mekas, R-W Fassbinder...). Il s'y déploie une théorie de l'art comme action et réciproquement une théorie de l'activisme soucieuse d'expérimenter en toutes choses et en tous lieux : clans les rapports avec autrui, dans les gestes de luttes, dans les usages de la langue. Rarement trajet de cinéaste fut plus radical, inventif et fidèle à ses idéaux d'émancipation. Auteur d'éblouissants diamants noirs (A k a Serial Killer, Prière d'éjaculation...) et du film "le plus offensif de l'histoire du cinéma", selon ses propres termes (Armée rouge/FPLP : Déclaration de guerre mondiale), Masao Adachi reste à ce jour interdit de sortie de territoire au Japon. "Je ne me considère pas moi-même comme un hérétique. Mais si l'on observe objectivement la place de mes oeuvres, du point de vue de leur contenu, on peut les situer dans les extrêmes" (2010).

Motion picture producers and directors --- Motion pictures --- Producteurs et réalisateurs de cinéma --- Cinéma --- Political aspects --- Aspect politique --- Adachi, Masao, --- Politique --- Cinéma --- Cinéma expérimental --- Cinéma-art --- Réalisateur --- Avant-garde --- Conflit --- Cinéma, histoire --- Japon --- Political aspects. --- Adachi, Masao, 1939 --- -Japon

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Writing on Japanese cinema has prioritized aesthetic and cultural difference, and obscured Japan's contribution to the representation of real life in cinema and related forms. Donald Richie, who was instrumental in introducing Japanese cinema to the West, even claimed that Japan did not have a true documentary tradition due to the apparent preference of Japanese audiences for stylisation over realism, a preference that originated from its theatrical tradition. However, a closer look at the history of Japanese documentary and feature film production reveals an emphasis on actuality and everyday life as a major part of Japanese film culture. That 'documentary mode' – crossing genre and medium like Peter Brooks' 'melodramatic mode' rather than limited to styles of documentary filmmaking alone – identifies rhetoric of authenticity in cinema and related media, even as that rhetoric was sometimes put in service to political and economic ends. The articles in this Special Issue, ‘Developments in the Japanese Documentary Mode’, trace important changes in documentary film schools and movements from the 1930s onwards, sometimes in relation to other media, and the efforts of some post-war filmmakers to adapt the styles and ethical commitments that underpin documentary's "impression of authenticity" to their representation of fictional worlds

Music --- ethnofiction --- Japan --- documentary --- non-fiction --- dramatization --- Minamata disease --- Tsuchimoto Noriaki --- W. Eugene Smith --- Ishimure Michiko --- ethics of representation --- The Children of Minamata are Living --- Minamata: The Victims and Their World --- authorship --- documentary film --- hibakusha --- Japanese cinema --- Mizoguchi Kenji --- semi-documentary --- Shindō Kaneto --- film theory --- documentary film theory --- postwar Japan --- post-1945 Japan --- Hani Susumu --- cinéma verité --- direct cinema --- observational documentary --- cinematography --- the culture film --- Imamura Shōhei --- History of Post-War Japan as Told by a Bar Hostess --- fiction and documentary --- history --- memory --- experience --- magic lantern --- popular history movement --- avant-garde documentary --- new Left --- Teshigahara Hiroshi --- Adachi Masao --- subjectivity --- landscapes --- folklore studies --- documentary photography