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When Shinsuke Ogawa filmed the struggle of the Narita peasants against the new airport,
he and his collective went to live with the peasants. When he undertook a new film about
rice growing in Yamagata, he bought a rice field and the whole team set about cultivating it.
By following the entire cycle of the rice, from the microcosm (the single grain) to the macrocosm
(The gods), he once again proved that the filmmaker’s ally is time, and that television, which
abolishes time, is his enemy.