略称：连环射杀魔 略称・連続射殺魔

纪录片介绍

《略称：连环射^{自编x1620148}魔》是日本^{自编x162014a}演足立正生1969年执导的实验性电影，结合^{自编x1620140}情^{自编x1620146}、纪录片与犯罪类型元素，灵感源于1968年青少年连环杀^{自编x1620144}案。影片以凶手真实犯罪路线为线索，通过拍摄其途经的日本城镇景观，探讨资本社会对日常生活的异化现象。

全片摒弃传统叙事结构，以客观镜头记录凶手视角下的城市景观与市井场景，形成去叙事化的影像风格。作品通过空间同质化现象展现工业化进程中的地域消亡，被视为对居伊·德波“景观社会”理论的视觉化阐释。创作团队由日本前卫电影人组成，意图通过实验手法反思犯罪背后的社会结构性矛盾。足立正生此后加入日本赤军的经历与其激进思想形成互文。

纪录片剧情

A horrifying series of murders, committed by a teenaged killer in 1968, prompted a group of filmmakers to chart his path, capturing the things he might have seen before committing his crimes. Their result is this provocative, rarely-screened meditation on geography and society.

In 1969, Adachi, who had already made a number of important films, led a group of people, who were all in the vanguard of filmmaking in Japan, in making a film called “AKA. Serial Killer.” The camera eye mostly shows various landscapes across Japan, following the itinerary of a young informal worker, Norio Nagayama, who ended up committing a series of shootings in these places. Then a relatively known film director made a narrative film about Nagayama’s miserable upbringing and tried to make a statement about the social inequality that was supposed to have been responsible for his crime (The film is “Naked Nineteen -Hadaka no Jyuukyuu-sai-” directed by Kaneto Shindo, 1970). Meanwhile this group decided to pursue a totally different approach, which, precisely speaking, is neither a story film nor documentary. It is an attempt to see exactly what Nagayama saw along his itinerary looking for a better job, a better place, which never existed. The resulting film shows a series of terrains that have been transformed to the effect of losing genius loci or the singularities of place and became a series of postcard-like landscapes. This was the most straightforward critique of capital’s “real subsumption,” namely, the overall commodification of the everyday, which corresponds to the critique of “spectacle” by Guy Debord (The key word used in the debate provoked by the film was fukei in Japanese, which is commonly translated as “landscape.” As opposed to that, the music critic Yuzo Sakuramoto suggested to use “spectacle.”).

足立正生 Masao Adachi

^{自编x1620140b}，生于1939年5月13日，福冈

^{自编x16201403}为大岛渚和若松孝二写下了不少杰^{自编x16201409}的^{自编x16201400}本。

当他还是大学生的时候，他来到了若松的制^{自编x16201406}公司，要求加入，若松说：欢迎，我会好好折磨你的。足立写剧本很快，两天一个。后来若松回忆起来，说当时的确对他很狠，甚至说：如果下雨，就是你的错。

1971年，足立加入日本赤军，成为领袖之一，后来转战中东，1997年2月15日被黎巴嫩警方逮捕。2000年3月18日被黎巴嫩政府送回日本，^{自编x16201401}成田机场，足立被日本警方逮捕。