ABSTRACT
This chapter explores the role of Super 8 in Eric Baudelaire’s film installation, The Anabasis of May and Fusako Shigenobu, Masao Adachi, and 27 Years Without Images (2011), examining how obsolete media make visible archival absences shaped by colonial violence and political exile. Through the lens of anabasis—a cyclical journey marked by transformation—the chapter traces the protagonists’ paths between Tokyo and Beirut, shaped by Japan-Palestine solidarity. Baudelaire mobilises Super 8’s dual legacy—as domestic memory and artistic device—to confront visual erasure. The chapter is informed by fûkeiron (landscape theory), and proposes anabasis as a media-archaeological concept to understand how Super 8 is reactivated in the exhibition space, transforming obsolescence into a generative form of historical engagement.
