#zenkyoto

[sailorspica]

all-campus joint struggle committee (zenkyoto 全共闘) action in KIDS ON THE SLOPE (2012) dir. shinichiro watanabe, MAPPA/tezuka productions

in their eyes, i'm a traitor. they may never forgive me. but all i can do is search in my own way from now on, using a different method from them.

[abdulraveman]

Nishikido Ryo for GQJapan 2023.06.23 in Dior

rough translation of his interview below

GQJapan Interview with Nishikido Ryo for Netflix Series "Let's Get Divorced "I wondered if it was okay to live more selfishly".

We interviewed Nishikido Ryo, who returns to tv dramas after a four-year absence to act in the role of a man who is playing both of the main characters in "Let's Get Divorced," which has been available exclusively worldwide on Netflix since June 22 (Thursday). He talks at length about everything from the appeal of the character Kano Kyoji to "What is true coolness?”

Actor Nishikido Ryo is back.

In the Netflix series "Let's Get Divorced", a new member of parliament, Shoji Taishi (Matsuzaka Tori), and a national actress, Kurosawa Yui (Naka Riisa), who play a friendly couple for the sake of public appearances, overcome various obstacles and work together to achieve their goal of "getting a divorce". Nishikido plays Kano Kyoji, a "sexy self-styled artist" who meets Yui by chance and becomes close to her.

His presence brings a thrill to Yui, who has grown tired of their married life, as he goes to play Pachinko every day and creates mysterious "artworks" in his garage-like home, which he calls his studio. Yui says that he is "a person who’s alive yet dead." He is uninhibited in what he says and does, and is certainly a man of a certain sex appeal.

This film was co-written by Kudo Kankuro and Oishi Shizuka. They did not write one story each, but rather took turns writing a little bit at a time, as if they were exchanging diaries. Kudo-san said of Kyoji, "I wondered if women find that kind of thing sexy. To be honest, I had no idea, so I'm glad Oishi-san wrote it for me (laughs). I understood now that it’s onscreen.” Oishi, on the other hand, said, "He’s like a Zenkyoto (a radical student leftist) man from a generation older than mine. It may not be the kind of character that scriptwriters today would write, but the older generation liked that kind of character" (both from press materials).

Indeed, the character has the air of an 'outcast hero' from a Showa-era girls' manga. How did Nishikido himself see the appeal of such a character?

“I think it's about not being influenced by your surroundings. I like what I think is good, and I am interested in what I am interested in, but not in what I am not interested in. With so much information available on TV and social networking sites, I think it's quite a difficult thing to do, and it makes you feel insecure. But Kyoji is not afraid to be true to himself. Or rather, he probably doesn't even think about how he is seen.”

What is true coolness?

There is a scene in the film where opposition MP Go Soda (Yamamoto Kōshi), who is the candidate opposing Taishi, gives his best speech and the audience is engulfed by it, when Kyoji, who is present, clearly points out Soda's misstatement. This scene shows what is at the core of this seemingly free-spirited man. He is aloof, but has a passion lurking deep within him. This part of him is so compatible with the image of Nishikido himself that I feel that no one else could have played the role but Nishikido. When I told him this, he said, "Really? I'm glad to hear you say so.”

“Of course I hoped that Kyoji's coolness would be attractive, but that doesn't mean I should try to make myself attractive or act sexy. It would be very embarrassing/cringe-worthy, the moment it is found out. I was performing while praying "I hope it looks like that."”

By the way, there are several scenes in the drama where Kyoji smokes, and it is said that Nishikido's suggestion was used in one of the scenes.

“When they asked me what to do after smoking outdoors, I said, 'Why don't you put it out on the soles of your shoes?' You can't litter, and it wouldn't be cool to step on it and pick it up. It's not really an idea, though.”

The relationship between Yui and Kyoji eventually becomes known toTaishi, and the two confront each other directly towards the end of the story. Born and raised in a political family, Taishi exchanges words with Kyoji, a type he has never met before, and honestly admires him, saying 'You have something I don't have' and 'You are endlessly free, amazing'. But after he leaves, Kyoji throws the paper cup he was holding onto the floor.

“It's amazing that Taishi would come to that place, isn’t it? Kyoji probably already felt defeated at that point. He (Kyoji) thought he was going to bite him, but he didn't. Because Daishi probably didn't even think he was bitten, and he probably left without even realising he had won, right?"

After saying this, Ryo added, in typical Osaka fashion, "I don't know!" he added with a laugh.

“I don't really know. Ah, I just know that when I saw the video of that scene, I thought to myself, "I'm so tiny”. The sense of scale with Taishi was just too different. (Laughs)”

When I ask him “Who do you think is cooler, Taishi or Kyoji?” he said "They are both cool, aren't they?"

“Sorry for the half-assed answer, but .......I think each of them have their own cool and bad parts, not just the two of them, but everyone in this piece is cool in their own way. I thought Yui, Henry, and Yui's manager all had their own coolness.”

I want to have fun doing fun things.

Kyoji's attitude of knowing who he is & doing what he wants, which is the basis of his coolness, is also something that is quite difficult to maintain while living in society. Were there any parts that resonated with you?

“I myself can say that I am living as I please, or I should say, I am living the life I want to live. It is not that I am only doing what I want to do, but I think it is okay to live more selfishly, and I have come to value my time more”

As noted at the beginning of this article, this is the first time in four years that he has appeared in a drama. In addition, among the dramas in which he has appeared in the past, Ryusei no Kizuna (2008) and Gomen ne Seishun! (2014), which, like this drama, was written by Kudo Kankuro and produced by Isoyama Akira, and both were directed by Kaneko Fuminori.

“When I was working on 'Ryusei no Kizuna', Kaneko-san kept telling me to 'be careful with my enunciation” I thought I was speaking clearly. When I met him for the first time in a while in Gomen ne Seishun, I was told that my speaking had improved a lot. I think he said that once or twice this time, too. He only praised my fluency (laughs)."

Producer Isoyama, who was present at the interview, added, "Of course, that's not all. (Director Kaneko) was very complimentary, saying 'You thought it through very well’.” To which ryo replied "I ‘m embarrassed that he thought so! It's so lame” He exclaimed in agony.

“I just didn't happen to have any chance in the past four years, so I didn't really feel that I had a gap in my drama career. Now that I've been approached, I just want to do my best, and if I'm invited to do something like this, I want to go anywhere. Not only in acting, but I also want to enjoy myself while doing things that look like fun.”

He goes where his heart takes him - to be happy, comfortable and free. It is this lack of self-consciousness that attracts and holds people's attention.

[taxxpayermoney]

Zenkyoto helmets 1968

[balconyscenee]

; a little madness in the spring (bokuaka, 70k words, complete)

Tokyo, 1968. Akaashi Keiji has just enrolled in his first year of university, and the experience hasn’t been exactly what he had in mind. Bokuto, on the other hand, struggles to find his place in a world dominated by academics. Together they will end up joining the student revolutionary group Zenkyoto, which will also help them realize that there’s more to life than fighting for what they think is right.

also features: sidepair kuroken ; a fair amount of anti-war propaganda ; the haikyuu boys as les amis de l'abc wannabes in the twentieth century.

[morita-doji]

Hi there, nice blog. I was wondering if you can share some information about the wonderful and mysterious singer. Sad that she retired so early. RIP

Hello, happy new year and thank you so much.

Morita Doji (this is her artist name; her real name is unknown) was a Japanese singer-songwriter born in 1952, active from 1975 to 1983. She and her circle of friends were part of the Zenkyoto (All Schools Joint Struggle Committees) movement of the late 60s. After the death of one of these friends in 1972, she started making music under this artist name, keeping an enigmatic and anonymous appearance behind her trademark sunglasses and storm of curly black hair. Songs like "Our Failure" became the theme for the struggle and crushing of this generation. She gained a following for her music's unique existential directness, dark solitude and empathic ability. She would often be in tears as she sang her songs live. After seven albums she retired from music and disappeared completely from the public eye in 1983. Her music enjoyed some rediscovery/resurgence when "Our Failure" was featured as the theme song of a popular 1993 TV drama, "High School Teacher." This prompted a best of compilation album to be released which included an unreleased draft of the song, "The Sea Cries Out, You Can Die" called "Playing Alone." She passed away of heart failure in 2018. There is not a lot of information about her because she was very purposely self-effacing. There are rumours, bits of information people state as facts, certain information that has come to light which may or may not be true that I won't include here because apparently she did not even want her death to be publicly announced. Some of her inspirations come from the writers, Osamu Dazai, Kazumi Takahashi and manga artist, Yoshiharu Tsuge.

[if-you-fan-a-fire]

"If we examine the case of the Todai Zenkyōtō movement discussed earlier, the Zenkyōtō confronted power by occupying the point of production this space of knowledge-production that we call the university. It obviously recalls for us the syndicalist understanding of worker-led factory occupations. While the university-wide Zenkyōtō base was comprised of the individual Zenkyōto organizations of each department, it also included activists from the Marxist-Leninist sects, numerous activists of the so-called "non-sect" radicals, and various small, relatively loose groupings. These were encompassed within the movement as part of the council-form known as the All-Campus Joint Struggle League. As its membership was not fixed or set, it experienced intense volatility and fluctuation in terms of individual comings and goings. Within each university, alongside the Zenkyoto radicals existed their opposition, Minsei (the JCP youth organization), as well as numerous organizations of the general student population who were unilaterally opposed to the struggle itself. At Todai, for instance, these organizations joined with the general student population at university assemblies to determine individual department policies. In such sites, violence was taboo, so decision making was supposed to remain at the level of a discursive war. The student assemblies in each department would incessantly and endlessly repeat again and again these discursive struggles, often lasting until the next morning. Far exceeding in numbers, the necessary quorum to fulfill protocol, these assemblies became in reality open to the participation of the entire student body. For the Zenkyoto movement, this intricate and complex war of discourse was an experience that bore close resemblance to what Arendt famously called "the emergence of political space."

The Zenkyöto movement was a student rebellion that broke from the prior style of postwar Japanese political movements. But it was not only this. The liberation of the concept of rebellion [hanran] from the theoretical framework of revolution was also a fundamental paradigm shift from the traditions of the revolutionary movement. The various party formations of the Japanese New Left generally saw themselves theoretically as vanguard parties, inheritors and successors of the Marxist tradition; that is, they saw themselves as the Marxist-Leninist party. This is the source of the sectarian literary style, beginning with the party program. Within the movement, each individual struggle (ein Kampf) must be positioned as merely one means in a connected chain leading to the final, ultimate revolution [der Kampf], the movement-form aimed at by the entire national political struggle. Here, the vanguard party is understood as the "headquarters," the order-giving division, of the mass movement, which must independently be a steadfast and strong community of revolutionaries. This is the logic of vanguardism. Yet, at the time, the "new vanguard parties" were tiny in comparison to the working class or even to the Communist Party, so they resorted to another self-determination: the Marxist-Leninist "left opposition." These characteristic "revolutionary parties" were an extension of the 1960 Anpo struggle, and when they encountered the Zenkyötö movement, they quickly became influential members and organizers. The composition of the Zenkyōtō as a group was an amalgamation of the masses in rebellion and the various sectarian formations. This produced a constant flux within the Zenkyōtō movement, the sects, and the masses from vanguardism to mass-movementism and vice versa. The revolutionary parties had now experienced a mass rebellion, a moment of insurrection.

However, in Japan, this term "rebellion" [hanran] brings up, rather, associations with the rebellion of nationalists in the military, as in the famous 2-26 Incident of 1936.' For Marxist-Leninists, it recalls perhaps the "counter-revolutionary" Kronstadt rebellion. In short, it is not exactly a positive term for political movements of the left. What Japanese revolutionaries experienced in '68 compelled them to fundamentally reconsider the history and theory of prior revolutionary movements. Precisely through this experience, Marxism itself was subject to close scrutiny. Since the Japanese '68, mass political movements have largely disappeared, and since the 1990s and the implosion of the socialist system, the interest in Marx or Marxism-Leninism has also largely been lost. There are scarcely any traces of the New Left sects of '68. Yet what cannot be destroyed, eliminated, or forgotten from our actual moment is the fact that this concept of rebellion was liberated from the tradition of revolutionary politics, this concept that exerted such a force on the theoretical experience of 1968. It transformed the style, the grammar, of revolution."

- Hiroshi Nagasaki, "On the Japanese '68," in Gavin Walker, ed., The Red Years: Theory, Politics and Aesthetics in the Japanese '68. London and New York: Verso, 2020. p. 28-29

[ao3feed-iwaoi]

the winter of our discontent

Read this masterpiece on AO3 at https://ift.tt/SiBwTnx

by balconyscene

Tokyo, 1969. Iwaizumi Hajime doesn’t really believe in revolution, but meeting Oikawa Tooru, the newfound leader of the Zenkyoto movement, may prove him otherwise.

Words: 868, Chapters: 1/20, Language: English

Fandoms: Haikyuu!!

Rating: Teen And Up Audiences

Warnings: Creator Chose Not To Use Archive Warnings

Categories: M/M

Characters: Iwaizumi Hajime, Oikawa Tooru, Akaashi Keiji, Bokuto Koutarou, Kozume Kenma, Kuroo Tetsurou, Ushijima Wakatoshi, Sakusa Kiyoomi, Sugawara Koushi, Tsukishima Kei, Yamaguchi Tadashi, Hinata Shouyou

Relationships: Iwaizumi Hajime/Oikawa Tooru, Akaashi Keiji/Bokuto Koutarou

Additional Tags: histfic, Historical AU, Enemies to Friends to Lovers, Eventual Fluff

read it on AO3 at https://ift.tt/SiBwTnx

[yanarchy072]

・ ・ #東京アラート発動中 #socialdistancing #tohoシネマズ日比谷 #復活 ・ 【今日の本命】 三島由紀夫vs東大全共闘〜50年目の真実〜漸く観れた。 非常に観て良かった！ ・ お互いに元々は反米愛国主義で、ある意味“尊王攘夷”。幕末の薩摩と長州ではないですか！ 楯の会と全共闘が共闘していたら、三島は龍馬にでもなり得たのか？ 歴史にタラレバはない。だから、三島は共闘しなかった。右でも左でも勝てない事を知っていたのかなあ、三島は。 三島の自決から今年50年になる。早めに配信して冷めた日本人の熱量をアゲた方が良いと思いますが。 ・ #三島由紀夫vs東大全共闘50年目の真実 #mishimathelastdebate #豊島圭介 #東出昌大 ・ #三島由紀夫 #yukiomishima #楯の会 #tatenokai #芥正彦 #masahikoakuta #東大全共闘 #zenkyoto #小川邦雄 #tbs #瀬戸内寂聴 #jakuchosetouchi ・ #圧倒的熱量を体感 ・ #映画 #movie #cinema #ビバムビ #ınstagood #instamovie #instapic #moviestagram (TOHO Cinemas 日比谷) https://www.instagram.com/p/CBDQ_DQABAV/?igshid=wzv1j7rep7d

[todayintokyo]

Autumn at the University of Tokyo, Part 2 (Part 1)

[sailorspica]

kids on the slope (2012) dir. shinichiro watanabe, MAPPA/tezuka productions

episodes 2, 4, and 9 prominently feature miura catholic church in sasebo, nagasaki, where mangaka yuki kodama was born and raised. the series ends at kuroshima church in the kujūku islands, designed by a priest of the paris foreign missions society and consecrated in 1902, just three decades after meiji lifted the tokugawa ban on christianity. in interior scenes, the stained glass is remarkably accurate for both churches.

from kaoru and sentarō's love of jazz; sentarō and ritsuko's catholicism; and the constant, peripheral presence of U.S. navy sailors, including anti-imperialist student (zenkyōtō) protests in sasebo's port; kids on the slope is, besides a homoerotic slice of life, a carefully observed snapshot of cold war japan and the dynamic, multivalent culture unique to nagasaki, in motion since the region's first contact with portuguese and dutch traders in the 16th century.

[koshigurajumy]

『討論 三島由紀夫vs.東大全共闘』より (1969) Yukio Mishima vs. University of Tokyo Zenkyoto members, Masahiko Akuta (and his baby)

[balconyscenee]

THE WINTER OF OUR DISCONTENT

pairing: iwaoi (oikawa tooru × iwaizumi hajime).

word count: +50k.

status: complete, will be updated every sunday on ao3 (currently on chapter one).

rated: mature (cw: eventual smut, police brutality).

tags: histfic ; historical au ; enemies to friends to lovers ; eventual fluff ; violence ; canon-typical violence ; eventual smut.

summary:

Tokyo, 1969. Iwaizumi Hajime doesn’t really believe in revolution, but meeting Oikawa Tooru, the newfound leader of the Zenkyoto movement, may prove him otherwise.

link: https://archiveofourown.org/works/45515419/chapters/114524179

[spicyblogger2]

I almost put "Yukio Mishima crushing bussy" at the bottom but that is less germane to the chain of events than the Zenkyoto riots

[wearejapanese]

Riot police at the University of Tokyo haul off a man wearing a white helmet, cuffed hands clasped above his bowed head. His expression is a mixture of resignation and defiance, but the fine details are hard to discern, obscured by the dark shades of the monochrome photograph he is depicted in — where he remains frozen in time. In the foreground, an officer is speaking into his transceiver, perhaps reporting back to the tactical unit in charge of operations or answering a query from other troops conducting a sweep of the campus.

Another image shows a protester propelling a Molotov cocktail from a balcony toward an approaching blast from a water cannon.

There are also moments of candor: An activist with his mouth full of an onigiri rice ball; students playing a game of go next to a bottle of Suntory whisky; and a man, fast asleep on the floor, with a butt-filled ashtray sitting by his elbow.

These are considered to be the only photographs from behind the barricades documenting the final months of riots that engulfed the nation’s top educational institution. The uprising culminated in a historic two-day showdown 50 years ago on Jan. 18 and 19, 1969, that saw the last occupants of the Yasuda Auditorium captured by police, marking the end to a decade of violent, and occasionally deadly, student protests.

“I didn’t really have any strong political views at the time,” says Hitomi Watanabe, a photographer who was granted sole access to shoot inside the auditorium at the time.

A graduate of the Tokyo College of Photography, she had been wandering the streets of Shinjuku, then home to the nation’s counterculture, snapping photographs of buildings, alleys and the workers who fueled the nation’s postwar economic boom.

Watanabe was also drinking buddies with artist Michiyo Yamamoto, often crashing at her flat near Shinjuku.

“Sometimes at night, Yamamoto’s partner, Yoshitaka, would return home. He’d simply acknowledge us and then just smoke cigarettes — he wasn’t a very talkative guy,” Watanabe recalls.

Then a postgraduate student at the University of Tokyo, Yoshitaka Yamamoto would soon be elected the leader of his university’s branch of Zenkyoto, the All Campus Joint Struggle League, and emerge as one of the central figures alongside Akehiro Akita, chairman of Zenkyoto’s Nihon University branch, in the student movement that swept across the nation.

“Yamamoto’s quiet but determined demeanor inspired me,” Watanabe, 73, says on a recent afternoon at a cafe in the Tokyo neighborhood of Oji.

“I began shooting his portraits,” she says, a project that would impact her life and career in unforeseen ways.

Read more...

[circus-sonata]

by Hitomi Watanabe / 渡辺眸 from the series Todai Zenkyoto, 1968-69 東大全共闘 -われわれにとって東大闘争は何か- © the artist

[omg-lucio]

Protesta de estudiantes japoneses, Zenkyoto (全 学 共 闘 会議) con lanzas de bambú y sus icónicos cascos / cerca del parque Hibiya de Tokio / 21 de octubre de 1971

https://en.wikipedia.org/wiki/Revolutionary_Communist_League,_National_Committee