Frames REVOLUTION+1 as an urgent cinematic intervention that collapses the art/politics divide, staging the Abe assassination as a crisis of self-determination under a collapsing democratic-capitalist order and refusing moral binaries about violence by foregrounding contradiction and audience judgment. Reworks Adachi’s “landscape theory” from external vistas of state power to an interiorized, commodified social terrain, using docudrama fused with surrealist-anarchist stylization to show how contemporary subjects experience entrapment as both psychic and infrastructural walls that can only be confronted through individuated, precarious acts.

Emotion in post-1949 Chinese art operates as a historically conditioned mediator between individual interiority and socialist collectivist “truth,” producing a dialectic of sincerity and regulation in which sketches, marginal genres, and moments of stylistic plurality become sites of partial transcendence within (not simply against) the official framework. This dynamic is theorized through debates on realism/romanticism, innovation, and subjectivity—where the state’s project of self-transformation both modernizes and disciplines the artist—then extended to post-1990s conceptual practices that mobilize affect beneath an ostensibly cold surface to critique globalization, commercialization, identity prescriptions, and new hegemonies.