Abstract
This chapter focuses on Kuzoku, a Japan-based independent film collective of multiple members founded by self-trained filmmakers Tomita Katsuya and Aizawa Toranosuke in 2004. This study first examines Kuzoku’s location shooting by reconceptualizing fūkeiron (theory of landscape). Importantly, I turn to how Kuzoku’s fictional works Saudade (2011) and Bangkok Nites (2016), in tandem with other media projects by the film collective, reconfigure the mode of appearance in making visible previously marginalized subjectivities and locales, and connect with disparate temporalities and modes of affect as a gesture of resistance against the ‘endless everyday’ as well as the powerful globalization. Kuzoku’s filmmaking contributes to rethinking the transnational potentialities of Japanese cinema as well as Asian independent cinema.
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