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In 1971, Koji Wakamatsu and Masao Adachi, both having ties to the Japanese Red Army, stopped in Palestine on their way home from the Cannes festival. There they caught up with notorious JRA expats Fusako Shigenobu and Mieko Toyama in training camps to create a newsreelstyle agitprop film based off of the landscape theory (fûkeiron) that Adachi and Wakamatsu had developed. The theory, most evident at work in Serial Killer (1969), aimed to move the emphasis of film from situations to landscapes as expression of political and economical power relations.