CCJ is happy to associate with Go Hiraswa to current Michiko Sasaki’s To Die Someday (1974), a exceptional movie diary comprised of pictures of the protests on the Nihon College All-Campus Joint Wrestle Committee (Nichidai Zenkyōtō) and movie fragments depicting on a regular basis life. It’s an uncommon filmic experiment that mixed invaluable doc of the protests from 1968 via 1974 and pictures from Sasaki’s private life.
Every program can be obtainable for viewing on CCJ’s viewing platform for CCJ members.
Sasaki Michiko, a buddy of [Motoharu] Jōnouchi’s, labored at Nikkatsu Studio’s enhancing division earlier than enrolling on the Tokyo Faculty of Pictures to check images below images critic Shigemori Kōen. Her profession stands out on condition that she coupled taking pictures the Nichidai Zenkyōtō (Nihon College All Campus Joint Wrestle Committee) and stills for ATG movies on the one hand, with managing bars within the Golden Gai district in Shinjuku on the opposite. Sasaki’s digicam, although educated on the identical surroundings as Jōnouchi’s movies, captured a ruined panorama alongside college students’ day-to-day actions. Her unbiased movie Itsuka shinunone (To Die Someday), shot on 16mm movie, combines her personal pictures of the Nichidai Zenkyōtō with fragmentary footage of on a regular basis life. One would possibly contemplate it each a doc of the interval between 1968 and 1974, and Sasaki’s private movie diary.
So far as the images world in Japan is worried, the 12 months 1968, a ‘season of politics’, noticed the emergence of feminine practitioners; Watanabe Hitomi, as an illustration, who saved a watchful eye on many pupil struggles, and the collective Zen Nihon Gakusei Shahs Renmei (The All-Japan Pupil Affiliation of Photographic Societies), who is claimed to have counted many ladies amongst its members. Against this, few feminine artists could be discovered throughout this era inside movie arts in Japan, significantly expanded cinema. On this sense, the individuality of Sasaki’s actions can not however appeal to our consideration.
From: Tasaka, Hiroko. “Japanese Expanded Cinema Revisited,” Japanese Expanded Cinema Revisited. Tokyo: Tokyo Photographic Artwork Museum, 2017.
Born in Nemuro, Hokkaidō in 1934, lives in Tokyo. After working an oden (Japanese conventional pot stew) avenue stand in Shinjuku on the age of twenty-two, Sasaki labored within the enhancing division of the Nikkatsu Studio for 3 years, then studied images at Tokyo Faculty of Pictures. She shot pupil activism organized by the Nihon College All Campus Joint Wrestle Committee and stills for industrial movies whereas additionally working a sequence of bars within the Shinjuku district, together with ‘Bar Musasabi’ in Golden Gai and (Golden Gate) in Kabukichō. In 1974, she accomplished her movie, To Die Someday, which mixed nonetheless photographs of activism with personal footage. In 1979, she relocated to Brazil, the place she managed numerous eating places and inns, earlier than transferring to São Paulo in 1988 to discovered a personal library. Sasaki returned in Japan in 1993. Her publications embrace Shinjuku Hatsu Amazon Yuki (From Shinjuku to Amazon, Bungei Shunjū, 1994), an autobiography, and Nichidai Zenkyōtō (Rokusaisha, 2009), a ebook of collected pictures.