IFFR 2017: Eric Baudelaire / fūkeiron, or the politics and poetics of landscape

Anlässlich der neuen Arbeit von Eric Baudelaire, Also Known As Jihadi, die parallel zum Festival im Witte de With Center for Contemporary Art zu sehen war, veranstaltete das IFFR eine Gesprächsrunde mit ihm und Claire Atherton, die den Film geschnitten hat. Baudelaire greift darin ein bildpolitisches Konzept auf, das Ende der 1960er Jahre in Japan innerhalb eines kleinen Kollektivs um Masao Adachi entwickelt wurde. Ich war neugierig, wie Baudelaire diesen bereits 2011 in seinem essayistischen Dokumentarfilm The Anabasis of May and Fusako Shigenobu, Masao Adachi, and 27 Years without Images erprobten Zugang in dem kürzlich finalisierten Projekt erneut und anders getestet hat. Die Rede ist von fūkeiron, der sogenannten landscape theory. Diese Theorie wurde von Adachi und seinen Kollegen während der gemeinsamen Arbeit an dem Film A.K.A. Serial Killer ausgearbeitet, in dem sie der Spur des jungen Arbeiters Norio Nagayama folgten, der 1968 ohne ein erkennbares Motiv vier ihm unbekannte Menschen in vier Städten Japans erschossen hatte und von den Medien als Serienmörder gebrandmarkt worden war. Im Bestreben, neues Licht auf den Fall zu werfen, versuchten sie sich in einer neuen und ungewöhnlichen Form der filmischen Annäherung an eine Figur. Während des gesamten Films wird Nagayama nie gezeigt, auch kein einziger Handlungsablauf dargestellt. A.K.A. Serial Killer besteht aus einer kontinuierlichen Aneinanderreihung von gefilmten Städtelandschaften, die Nagayama auf seinem Lebensweg bis zu seiner Verhaftung umgeben hatten. Unterlegt mit Free Jazz sind die Bilder von wenigen Kommentaren durchsetzt, die grobe Eckdaten zur Geschichte seiner zahlreichen Versuche, in der Arbeitswelt Fuß zu fassen, liefern. Warum diese Vorgangsweise? Der Film basiert auf der Idee des Kollektivs, dass sich jene politischen und ökonomischen Machtstrukturen, die das Japan der 1960er Jahre kennzeichneten und die sie als hauptverantwortlich für Nagayamas aussichtslose Lage betrachteten, in Landschaften einschreiben, in ihnen wirksam werden und über deren filmische Betrachtung offengelegt werden können. Indem sie Nagayamas Umgebung, die Orte, an denen er sich aufgehalten hatte, filmten, versuchten sie, sich ihm indirekt anzunähern und dabei die Landschaft in Hinblick auf eine Inkorporierung und Manifestation der Machtstrukturen, die Nagayamas Lebensumstände geprägt hatten, zu befragen.

Also Known as Jihadi von Eric Baudelaire

Baudelaire setzt in Also Known As Jihadi ähnlich an, indem er sich ebenfalls auf der Bildebene von seinem Protagonisten, Abdel Aziz Mekki, abwendet. Aufgewachsen in einem Pariser Vorort schloss sich der junge Mann, dessen Namen im Film geändert wurde, in Syrien der Al-Nusra Front an, einem Vorläufer des IS. Später wurde er in Frankreich inhaftiert. Wie A.K.A. Serial Killer versammelt auch Also Known As Jihadi Aufnahmen der Umgebungen, die der Protagonist im Laufe seines Lebensweges erfahren hat. Bilder des Krankenhauses wo er geboren wurde, der Siedlung, in der er aufgewachsen ist, der Schulen, die er besucht hat. Diese Aufnahmen alternieren mit Auszügen aus Gerichtsakten und Polizeiprotokollen, die einem mehrere tausend Seiten umfassenden Konvolut entnommen sind. Sie geben Einblicke in Verhörprotokolle, aufgezeichnete Telefonate, die Rückschlüsse auf seine Geschichte zulassen und eine indirekte Narration etablieren. Der Sound setzt sich aus leicht versetzt aufgenommenen Umgebungsgeräuschen zusammen, auf einen Off-Kommentar wird verzichtet. Auch Baudelaires Film ist als investigative Fallstudie angelegt, unterscheidet sich jedoch vor allem in einer Hinsicht fundamental. Anders als bei Baudelaire verharrte die landscape theory, wie sie in Japan entwickelt und filmisch umgesetzt wurde, nicht im Reflexions- und Investigationsmodus, sondern ist im Kontext eines Aktivismus zu verorten, an den sie unmittelbar anknüpfte. Vor dem Hintergrund einer konkreten politischen Protestbewegung wich 1969 unter den Vertreter_innen der landscape theory der Glaube an das autonom agierende Subjekt, kam Zweifel an individueller wie kollektiver Handlungsmacht auf. Entsprechend verlagerte sich der Schwerpunkt ihres politischen Protests, ihres militanten Filmschaffens, darauf, auf die strukturelle Unterdrückung oder – weiter gefasst – die Determinierung des Subjekts hinzuweisen, sie filmisch zu ergründen: die Landschaft als Inkorporation der Macht in den Blick zu nehmen. Dazu Masao Adachi: „Power does sometimes appear in a human figure, but in general, power is the system itself. For example, people say that power is located in the state as a mechanism of violence along with the military or police apparatus that guarantees that power, but this is only a small portion of power, a piece of the system. The point of landscape theory was to say that landscape itself is a reflection of the omnipresence of power.“[i]

So kündigte sich mit der Praktizierung von fūkeiron einerseits eine Wende an, mit Film einen Reflexionsprozess zu initiieren, anstatt zum militanten Widerstand gegen die Staatsgewalt aufzurufen, andererseits transportieren die Aufnahmen, die die Landschaft als omnipräsenten ,Feind‘ zu erkennen gaben, einen neu ausgerichteten Appell zur Gegenwehr, der für Gō Hirasawa die agitative Seite der fūkei eiga bzw. landscape films unterstreicht: „The landscape theory, I believe, is the highest form of cinematic agitation. It attempts to represent every object that is to be destroyed. [… T]he landscape as agitation idea is virtually saying: ,Destroy this, destroy that.‘“[ii]

Also Known as Jihadi von Eric Baudelaire

Also Known As Jihadi ist nicht wie A.K.A. Serial Killer im Kontext einer Protestbewegung entstanden, aber knüpft an den Drang zu Verstehen an, dem die landscape theory folgt. Dieser Impuls mündet nicht in eine zielgerichtete Suchbewegung. In Zusammenhang mit dem komplexen Verhältnis von Beobachtung und Montage verschiebt sich der Versuch zu verstehen zum Versuch „nicht“ zu verstehen, was Pierre Zaoui wie folgt ausführt: „aim[ing] to understand and not to understand at the same time – to understand up to the point where one no longer understands – and also to show, refusing to understand or explain […]: the desire (not) to understand, in its threefold sense – to see, to hear, and to share.“[iii]

Was Zaoui schreibt, erinnert mich an ein Kafka-Zitat aus Der Verschollene: „,Ich verstehe von Politik nichts‘, sagte Karl. ,Das ist ein Fehler‘, sagte der Student. ,Aber abgesehen davon haben Sie doch Augen und Ohren.‘“ Ungeachtet dessen, wo das Nicht-Verstehen beginnt oder wie es bewertet wird, wird bei Kafka wie bei Baudelaire das Beobachten Devise. Den Raum zwischen dem Versuch zu verstehen und der Unmöglichkeit eines Verstehens auszuloten, bedeutet in Also Known As Jihadi keine Erklärung für Taten zu liefern, sondern den unbequemen Weg der permanenten Suchbewegung zu wählen – die Augen zu öffnen und die Ohren zu spitzen. Wird damit der Beobachtung ein Primat gegenüber der Analyse eingeräumt? Findet nicht in der Montage stets eine Form der Analyse statt? Im Betrachten, Wenden und Schieben der Bilder um sie in eine Anordnung, eine bestimmte Konstellation zu bringen, die Bedeutung generiert, auf ein Verstehen drängt? Der Film zeigt Landschaftsaufnahmen von verschiedenen Stationen Abdel Aziz Mekkis und Bilder von Auszügen aus den Gerichtsakten, die lose eine faktenbasierte Narration in die Landschaften weben. Die Klarheit der Fakten steht dabei stets in Kontrast zur Offenheit der Fragen, die sie aufwerfen. Die Stadtlandschaften stehen völlig frei zwischen den Textbildern, arbeiten also ebenfalls der Offenheit zu.

In der Gesprächsrunde bringt der Kurator Stoffel Debuysere zum Thema Montage die Frage ein, inwiefern die Bilder in Also Known As Jihadi für sich sprechen und inwiefern sie eines Sprechens über sie bedürfen oder zum Sprechen gebracht werden müssen. Er spricht die Balance an, die der Film sucht, wenn er zum einen mit den Textelementen Hinweise zu Abdel Aziz Mekki und den gefilmten Landschaften gibt und zum anderen die Landschaften aus sich selbst heraus wirken lässt. Baudelaire erläutert dazu, wie der Film für ihn ein Netz darstellt, das die Projektionen der Zuschauer_innen einfängt – wie der Film sich aus dem zusammensetzt, was in die Bilder projiziert wird. Die Montage der Bilder, die Anordnung eines Davor und Danach, arbeitet den Projektionen zu, doch indem das Verhältnis zwischen dem, was die Dokumente und dem was die Bilder sagen, keineswegs illustrativ angelegt ist, bleibt das, was die Bilder in den Zuschauer_innen hervorrufen, zutiefst subjektiv. Claire Atherton bringt abschließend ihr gemeinsames Anliegen im Schneideprozess auf den Punkt: nicht mit den Bildern etwas sagen zu wollen und sie dementsprechend aneinander zu fügen, sondern zu hören, was die Bilder sagen.

_________________

[i] Masao Adachi, „Messages in a Bottle: An Interview with Filmmaker Masao Adachi“, Harry Harootunian/Sabu Kohso, boundary 2, Jg. 35, Nr. 3, Herbst 2008, S. 63–97, hier S. 86.
[ii] Gō Hirasawa, „Reassessing ,A.k.a. Serial Killer‘ and ,Red Army-PFLP‘“, Gespräch zwischen ders., Shiro Yabu und Takashi Sakai, aus dem Japan. übers. v. Yuzo Sakuramoto, http://www.bordersphere.com/events/adachi6_body.htm.
[iii] Pierre Zaoui, „Anabasis of Terror. Trying (Not) to Understand“, 2011, S. 43.

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