Interview with Konrad Aderer: Telling a dramatic story through real-life experiences is a very powerful way to engage people in an issue

We speak to Konrad Aderer about human rights, cinema, his career, the events at Tule Lake, and many other topics

Konrad Aderer lives and works in his native New York City as a field producer, videojournalist, and editor for NGOs, local TV, and nonprofits, including the UN and the ACLU. Since he established Life or Liberty (lifeorliberty.org), a nonprofit multimedia project, in 2002, much of his work has focused on immigrant communities coping with deportation and detention. He is also an actor and director, known for Resistance at Tule Lake (2017), Enemy Alien (2009) and Rising Up: The Alams (2005).

We speak to him about human rights, cinema, his career, the events at Tule Lake, and many other topics

You have been involved in immigrants' rights issues for quite some time. Why is that, and can you tell us a bit about lifeorliberty.org? 

If you go to lifeorliberty.org, you’ll see I got involved with the fight to free a Palestinian detainee named Farouk Abdel-Muthi. I produced a short to create awareness and involvement and a campaign to get him out, and eventually the story became my first feature documentary, “Enemy Alien.”


I made a film about Shokriea Yaghi, whose husband was one of the first post-9/11 detainees. She was trying to get him back in the country after he had been detained, starved, and deported to Jordan without warning and that became “Life or Liberty.” And that also became the title of my overall project. I saw that the government was handing us a false choice of choosing between our life or security and our civil liberties. Instead of life, liberty or the pursuit of happiness, they told us we could have life or liberty, but not both.

And “Rising Up the Alams” is about a Bangladeshi family fighting the deportation of the father following special registration post-9/11. My focus was not only to focus on resistance insea victimization but —how people more vulnerable than American citizens still resist against these policies of surveillance, arrest, and detention.

Do you think that cinema is obliged to deal with social and political issues, and how much impact do you think a film can have? Is the documentary, as a medium, the best way to highlight these issues? 

Telling a dramatic story through real-life experiences is a very powerful way to engage people in an issue, rather than reading fragmented pieces of social media or articles. To sit and have a story unfold is still an effective way to galvanize people. The main point is to tell human stories but also to give people a sense of cause and effect in people’s lives and what the impact is. That, to me, is how to get inside people’s skin when they’re faced with dire circumstances. When everything they’ve worked to build for decades and it’s taken away and when they don't know if they’re allowed to stay in the US or not, it’s important to understand the choices people make as they’re going through that.

You also work as editor, producer and cinematographer in TV and films. Can you tell us a bit about these capacities and how has your experience in other people's productions helped you with your films?

I didn’t go to film school. I had some really good mentors and friends who had professional skills that helped me until I was able to be self-sufficient as a filmmaker. I learned a lot watching other filmmakers but mostly through doing my first feature, “Enemy Alien” where I started off not having any skills and ended up shooting, editing and writing it.


How did you decide to deal with the the Tule Lake camp and how did "Resistance at Tule Lake" came about? Is the main purpose of the documentary to raise awareness for these dark episodes in US history? 

When I was making my first film “Enemy Alien” about a Palestinian activist Farouk, I was looking for a parallel in Japanese-American history. I found it in Tule Lake. Pretty much everything that he did: conduct hunger strikes, reason with his captors, fight illegal cases on base of constitutional principles—that’s all the things that Japanese Americans did at Tule Lake. And they had the same kind of consequences—beating, torture, deportation, yet they still persisted, which is why I felt this story was invaluable to tell because it was so little-known.

The documentary implements a somewhat old fashioned style, with with the narration and the subsequent zoom-ins and zoom-outs of the various photographs appearing on screen. Why did you choose this style?

I wanted to immerse people in the visual experience of Tule Lake. As I worked with my amazing associate producer Natalie Shmuel we discovered a great volume of visual materials for the Tule Lake segregation center. I feel that immersing yourself in stills is a great way to contemplate the terrible beauty of a place that was built to incarcerate people in a natural setting, bounded by two very striking mountains that become like characters in the film. Stills are what have survived to show glimpses of the torture and mistreatment people experienced. Since sifting through an archive is not the same as experiencing a story, I wanted to immerse the viewer in the visual experience of this place, and the glimpses of state violence people were subjected to. It takes time to absorbe an image and I wanted to give the viewer a chance to, while hearing first-hand experiences of the people who lived through this.

One of the people speaking in the film states that, after the bombing of Pearl Harbor, the Japanese living in the US West Coast fell victims to propaganda, hysteria, and ignorance, with the government and the majority of citizens considering them potential enemies of the state. Do you find any justification for this attitude, considering what has happened in Pearl Harbor?. Of course I mean in terms of mentality not of the horrendous treatment Japanese Americans received. 

The fear and hysteria following Pearl Harbor and 9/11 is a very understandable human reaction. But it’s in times like this for which our constitution is written, to protect against overreactions and betrayals against fundamental principles of human rights. We don’t need the Bill of Rights when everyone feels safe; we need them when people are inclined to feel threatened by an “other” or by a perceived enemy with a foreign face living in our midst. In my films, I try to give people a rational understanding of how the government betrays its ideals to satisfy this human reaction, and an emotional understanding of the price people pay when they become the targets of wartime hysteria.


Particularly during the last decade, the accusations against the Japanese for their acts in WWII have been very intense, especially regarding the concept of the "comfort women" and their general treatment of the people they have conquered. Do you find that justified? 

There’s no denying the Japanese government committed atrocities during WWII. However, the Japanese Americans did not play a role in that. So that’s a separate issue from the mass incarceration, mistreatment, torture, and deportation of Japanese-American citizens and aliens during WWII.

What kind of films do you like to watch and can you name some of your favorite documentaries?

I take a lot of inspiration from narrative films as well as documentary films for my project. I like films that show how a powerful moral principle plays out through characters like Martin Scorsese’s remake of “Cape Fear.” “The Fog of War” by Errol Morris, gave me a lot of inspiration as far as style and the use of archival footage. I see my film as following in the footsteps of other documentaries on wartime incarceration like “Rabbit in the Moon” by Emiko Omori and “From a Silk Cocoon” by Satsuki Ina. I also got to know Linda Hattendorf while she was finishing her great documentary “The Cats of Mirikitani,” which also touches on Tule Lake and learned a great deal from her.

What are your plans for the future? 

I want to keep showing my film in Asian American communities but also engage Muslim, Arab and South Asian communities with screenings and call attention to what is happening now. We’ll be having a public television broadcast presented by the Center for Asian American Media Spring 2018. Once I’m done putting good educational distribution in place for this film, I hope to flesh out my next project.

COMMENTS

Name

13 Assassins,1,1987: When The Day Comes,1,2017,3,2LDK,1,3-Iron,1,A Better Tomorrow 2018,1,A Company Man,1,A Feeling Greater Than Love,1,A few words about us,1,A Girl at my Door,1,A Lonely Cow Weeps at Dawm,1,A Love,1,A Man Vanishes,1,A Simple Life,1,A Single Rider,1,A Stone from Another Mountain to Polish Your Own Stone. Go Shibata,1,A Tale of Love,1,A tiger in winter,1,A Whale of a Tale,1,About Elly,1,Above the Clouds,1,Adam J. Symchuk,21,Adam John,6,Address Unknown,1,Aditya Vikram Sengupta,1,Adriana Rosati,13,Age of Innocence,1,Age of Shadows,1,Akihiko Shiota,1,Akihiro Toda,1,Akio Fujimoto,1,Akira Ikeda,2,Akira Kurosawa,1,Akiyuki Shinbo,1,Alan Mak,1,Ale Amout,1,Alex Oost,1,Alexander Knoth,1,Ali Asghar Vadayeh Kheiri,1,Ambiguous Places,2,Amir Masoud Aghababeian,1,Amir Muhammad,2,Amitabh Reza,1,Anand Singh,3,Andrew Thayne,5,Andy Willis,1,Anime,1,Animesh Aich,1,Ann Hui,1,Anna Bliss,3,Anqi Ju,1,Anshul Chauhan,2,Anthony Pun,1,Antiporno,1,Anurag Basu,1,Anysay Keola,1,Apprentice,1,Aqerat,2,Arang,1,Ariyuki Shinbo,1,Armour of God,1,Arrow,4,Art Film Fest Kosice,1,Article Films,3,Asghar Farhadi,1,Asha Jaoar Majhe,1,Asian Classics,27,Ask the Sexpert. India,1,Aya Hanabusa,1,Aya Itabe,1,Aynabaji,1,Baasansuren Nyamdavaa,1,Bad Poetry Tokyo,4,Badrul Hisham,1,Badrul Hisham Ismail,1,BAMY,1,Bangkok Nites,1,Bangladesh,5,Banjong Pisanthanakun,1,Banmei Takahashi,1,Before We Vanish,1,Behind the Camera,1,Belgium,1,Ben Stykuc,5,Bengal,1,BFI,1,Bhutan,2,Big Tits Dragon,1,Billy Joe,2,Black,1,Blade of the Immortal,1,Bloody Muscle Builder in Hell,1,Bollywood,1,Boo Junfeng,1,Branded to Kill,2,Breathless,1,Bunny Drop,1,Burma,1,Burning Birds,2,Bystanders,1,Cambodia,3,Camera Japan,10,Cannes Film Festival,1,Cheng Cheng Films,1,Children Heaven,1,China,25,Chinese Policy Institute,6,Chinese Shadows,2,Chinese Visual Festival,1,Choi Jin-ho,1,Choi Jin-won,1,Chris Berry,1,Chu Yuan,1,Chung Ji-young,1,Chungking Express,1,Close-Knit,1,Coffeemates,1,Colette Balmain,7,Competition,2,Confessions,1,Contact Info,1,Creative Visions: Hong Kong Cinema,1,Crocodile,1,Crosscurrent,1,Crows Zero,1,Cyrano Agency,1,Daguerreotype,1,Daigo Matsui,1,Daihachi Yoshida,1,Daisuke Gotô,2,Daisuke Miyazaki,3,David Chew,5,David Chew.,1,David Shin,1,Davy Chou,1,Ddongpari,1,Dead Friend,1,Dead Sushi,1,Deadly Outlaw: Rekka,1,Dechen Roden,1,Deepak Rauniyar,1,Destruction Babies,1,Diary of June,1,Digger,1,Ding Shen,1,Ding Sheng,1,Dismembered,1,Documentaries,18,Documentary,3,Doenjang,1,Don Anelli,22,Double Life,1,Dr. Heo,1,drama,1,Duelist,1,East Winds Film Festival,1,Edmund Yeo,4,Educating Yuna,1,Eiji Uchida,1,Emmanuel Horlaza,1,Erotic Diary of an Office Lady,1,Eureka,7,Exploitation,30,Fabricated City,1,Far East Film Festival,3,Fathers,1,Faye Wong,1,Features,20,Feautures,1,FEFF20,1,Fel,8,Festivals,8,Filmddo,1,Filmdoo,17,Fireworks,1,Fireworks Should We See It from the Side or the Bottom?,1,Five Flavors Festival,3,Five Flavours Festival,5,Flying Fish,1,Forgetting Vietnam,1,France,1,Fraser Elliott,1,From Vegas to Macau III,1,Fujian Blue,1,Funeral Parade of Roses,1,Funuke Show Some Love,1,Fuyuhiko Nishi,1,Gillian Anderson,1,God of War,1,Golden Horse Awards,1,Golden Slumbers,1,Good -Bye Silence,2,Gordon Chan,1,Goro Miyazaki,1,Guo Jian-yong,2,Hanagatami,1,Hanging Garden,1,Hanuman,1,Hapkido,1,Hashiguchi Takaaki,1,Haunters,1,HBO,2,Heart Attack,1,Helldriver,1,Helsinki Cine Aasia Festival 2018,3,Her Own Address,1,Hidden Gems,46,Hideo Sakaki,1,High-Kick Girl,1,Hindi,1,Hiro Aihara,1,Hirobumi Watanabe,1,Hirokazu Koreeda,3,Hiroshi Ando,1,Hiroshi Shoji,1,Hiroshi Teshigahara,1,Holy Island,1,Honeygiver Among the Dogs,1,Hong Kong,7,Hong Kong Godfather,1,Horror,3,Huang Fend,1,I Am A Hero,1,I Saw the Devil,1,I Wish,1,I-Lin Liu,8,ICA,3,Icarus Films,3,IFFLA,1,IFFR,2,Im Kyeong-soo,1,Imran Firdaus,1,In this Corner of the World,3,Indonesia,4,Initiation Love,1,International Chinese Film Festival,1,International Film Festival Rotterdam,6,Interview,2,Interviews,33,Intimate Confessions of a Chinese Courtesan,1,Inugami,1,Iran,7,Ishmael Bernal,1,Isora Iwakiri,1,J.P. Sniadecki,1,Jackie Chan,2,Jagat,1,Jagga Jasoos,1,James Mudge,1,Jang Joon-hwan,1,Japan,161,Japan Cuts,15,Japan Film Festival Australia,1,Japan Filmfest Hamburg,1,Japan Foundation Touring Programme,3,Japan the Emperor and the Army,1,Japan. Reviews,1,Japanese Film Festival Australia,2,Jeong Jae-eun,1,Jeonju International Film Festival,1,Jess Teong,1,Jia Zhangke,1,Jimmy Henderson,2,Jin Xingzheng.,1,Jithin K Mohan,1,Joe Odagiri,2,Johnnie To,1,Johnny Ma,1,Joko Anwar,1,Jonathan Wilson,6,Jonathan Yi,1,Joo Ji-hong,1,Journey of the Tortoise,1,Joy of Man's Desiring,1,July Jung,1,Jun Ichikawa,1,Jun Tanaka,1,Jung Yoon-suk,1,Junichi Kajioka,1,Junpei Mizusaki,1,K-dramas,12,Kaasan Mom’s Life,1,Kaneto Shindo,1,Kang Je-gyu,1,Kang Yoon-Sung,1,Katsuya Tomita,1,kdrama,1,Ke Guo,1,Kei Chikaura,1,Kei Horie,1,Kei Ishikawa,1,Ken and Kazu,1,Kengo Yagawa,1,Kenichi Ugaba,1,Kenichi Ugana,1,Kenichi Watanabe,1,Kentaro Hagiwara,1,Kill me,1,Killing Beauty,1,Kim Bong-han,1,Kim Eun-hee,1,Kim Hong-seon,1,Kim Hyun-seok,1,Kim Jee-woon,3,Kim Ki-duk,4,Kim Kih-hoon,1,Kim Min Su kII,1,Kim Min-suk,1,Kim Tae-kyeong,1,Kingyo,2,Kirti Raj Singh,1,Kiss me,1,Kiyoshi Kurosawa,3,Koji Fukada,1,Koji Wakamatsu,1,Komiya Masatetsu,1,Kon Ichikawa,2,Konrad Aderer,1,Korea,1,korean drama,1,Krzysztof Pietrzak,1,Kun-Yu Lai,2,Kwak Kyung-taek,1,Kyoko Miyake,1,Kyriacos Kyriacou,2,Lady Snowblood,2,Laos,2,Le Bình Giang,1,Leandro E. Seta,1,Lebanon,1,Lee Je-Yong,1,Lee Joo-young,1,Lee Jung-sun,1,Lee Kwang-kuk,1,Lee Myung-se,1,Lee Seo-goon,1,Leung Wing-Fai,1,Ley Lines,1,Li Ruijun,1,Like Father,1,Like Son,1,Lim Sang-yoon,1,Lists,11,Little Big Soldier,1,Little Forest,1,Live Up To Your Name,1,Loi Bao,1,Los Angeles Indian Festival,1,Love,1,Lovers Are Wet,1,Lowlife Love,1,Lyberis,3,Mad Tiger,1,Madman,2,Mahde Hasan,1,Mai Chan's Daily Life: The Movie,1,Majid Majidi,1,Makoto Shinkai,1,Malaysia,9,Mama,1,Mamoru Hosoda,1,Manny Araneta,1,Maria Georgiou,23,Mark Gallagher,1,Mary Jirmanus Saba,1,Masaaki Yuasa,1,Masaharu Take,1,Masakazu Sugita,1,Masaki Adachi,1,Masanori Tominaga,1,Masaru Konume,1,Masato Harada,1,Masatoshi Kurakata,1,Matt Cooper,14,Matthew D. Johnson,1,Maundy Thursday,1,Mermaid,1,Michael Haertlein,1,Midi Z,1,Midori Impuls,4,Milk the Maid,1,Minamata: The Victims and Their World,1,Minoru Kunizawa,1,Miwa Nishikawa,1,Mohammad-Reza Lotfi,1,Mongolia,2,Moon Lovers,1,Mototsugu Watanabe,4,Mountains May Depart,1,Mourning Forest,1,Movie,1,Mr. Socrates,1,Mrs Fang,1,Mumon: The Land of Stealth,1,My Dad and Mr Ito,1,My Hero Chihiro,1,Myanmar,1,Nanachan,1,Naoko Ogigami,1,Naomi Kawase,2,Naosuke Kurosawa,1,Naoyuki Tomomatsu,3,Nawapol Thamrongrattanarit,1,Neko Atsume House,1,Nepal,1,Neuchâtel International Fantastic Film Festival,1,Never Ending Blue,1,New Neighbor,2,New World,1,News,1,Nicholas Poly,3,Night is Short,1,Nikola Cekic,1,Niwatsukino Norihiro,1,Noboru Iguchi,1,Nobuhiko Obayashi,2,Nobuhiro Yamashita,2,Nobuo Nakagawa,1,Nobuyuki Takeuchi,1,Noise,2,Non-fiction Diary,1,Noriaki Tsuchimoto,1,Norman England,2,North Korea,1,Nurse Diary: Beast Afternoon,1,NYAFF,9,Nyamdavaa Baasansuren,1,Odd Obsession,1,Oh In-Chun,1,Old Boy,2,Old Stone,1,Old-School Kung-Fu Fest,1,Omar Rasya Joenoes,3,On The Line Festival,3,One Man's China,1,Ophilia,1,Ordinary Person,1,Orson McClellan Mochizuki,1,Osaka Asian Film Festival,6,Osamu Sato,1,Our Happy time,1,Over the Fence,1,Pai Kau,1,Palatpol Mingpornpichit,2,Panos,1,Panos Kotzathanasis,129,Park Chan-wook,2,Park Hoon-Jung,2,Park Ki- hyung,1,Park Kwang-hyun,1,Parkpoom Wongpoom,1,Party Round the Globe,1,Passage of Life,1,Pedro Morata,3,Peerachai Kerdsint,1,Pen-Ek Ratanaruang,1,Peng Xiaolian,1,Pepe Diokno,1,Peque Gallaga,1,Perfect Blue,1,Phanumad Disattha,1,Philippines,2,Pieter - Jan Van Haecke,3,Pieter-Jan Van Haecke,7,Pink Eiga,14,PinkEiga.TV,6,pinku eiga,1,Poet on a Business Trip,1,Press Release,1,Proshoon Rahmaan,2,Psychic,1,Pumpkin and Mayonnaise,1,Rabbit and Lizard,1,Railway Sleepers,1,Rainy Dog,1,Raja Mukhriz,1,Randy Mckenzie,4,Rape Zombie: Lust of the Dead,1,Rape Zombie: Lust of the Dead 2,1,Ravine of Goodbye,1,Red Persimmons,1,Rei Sakamoto,1,Reipu zonbi: Lust of the dead 3,1,Review,3,Reviews,112,Reviews.,2,Riri Riza,1,River of Exploding Durians,2,Robin Weng,1,Roger Lee,1,Ronja,1,Russia,1,Ryu Kaneda,1,Ryuki,1,Ryutaro Ninomiya,2,S. Korea,31,S.Korea,1,Saayak Santra,2,Sabu,1,San Diego Asian Film Festival,4,Sanjeewa Pushpakumara,2,Sankha Ray,6,Satan's Slaves,1,Satoshi Kon,2,Say Yes,1,Sayandeep Bandyopadhyay,2,Scarlet Heart,1,Score,1,Sea Fog,1,Seijun Suzuki,3,Sexy S.W.A.T. Team,1,Shake Rattle and Roll,1,Shanjhey Kumar Perumal,1,Shaw Brothers,1,She Remembers He Forgets,1,She's the Boss,1,Shift,2,Shigeru Umebayashi,1,Shikhar Verma,3,Shikhar Verna,3,Shim Sung-Bo,1,Shinichi Fukazawa,1,Shinji Iwai,1,Shinji Sômai,1,Shinjuku Swan,1,Shinjuku Triad Society,1,Shinsuke Ogawa,1,Shinsuke Sato,1,Shinya Tsukamoto,2,Shôhei Imamura,1,Shoot for the Contents,1,Shorts,9,Shotaro Kobayashi,1,Shuna Iijima,1,Shutter,1,Siddiq Ahamed,1,Sidi Saleh,1,Signature,1,Silver Spleen,2,Singapore,1,Sinophone,1,Sion Sono,6,Sixth Sense Hooker,1,Sogo Ishii,2,Soichi Umezawa,1,Solanin,1,Sompot Chidgasompongse,2,Song Hae-sung,1,Song of the Week,19,Sopawan Boonnimitra,1,South Korea,17,Sri Lanka,3,Stephen Chow,1,Still the Water,1,Strange Circus,1,Studio Ghibli,1,StudioCanal,4,Subenja Pongkorn,1,Suffering of Ninko,1,Suicide Club,1,Sukita: The Shoot Must Go On,1,Sunao Katabuchi,3,Sung-hong Kim,1,Sunk Into the Womb,1,Susumu Hirasawa,1,Sweating the Small Stuff,2,Tadashi Nagayama,1,Tae Guk Gi,1,Tag,1,Takaaki Hashiguchi,1,Takahiro Miko,1,Takao Nakano,1,Takaomi Ogata,3,Takashi Miike,7,Take Care of My Cat,1,Takuro Nakamura,2,Tatsuhi Omori,1,Tatsumi Kumashiro,1,Tetsuo the Iron Man,1,Tetsuya Mariko,1,Tetsuya Nakashima,1,Thailand,10,That's It,1,The Bad,1,The Boy and the Beast,3,The boy from Ipanema,1,The Crawler in the Attic,1,The Crazy Family,1,The Dollhouse,1,The elephant and the sea,2,The Executioner,1,The Forest Whispers,1,The Forsaken Land,1,The Good,1,The Inugami Family,1,The Iron Ministry,1,The Isthmus,1,The Kid from the Big Apple,1,The King of Pigs,1,The Last Executioner,1,The Man Without a Map,1,The Mermaid,1,The Muse,1,The Naked Island,1,The Name,1,The Night of the Earthquake,1,The Outlaws,1,The recipe,1,The Road Home,1,The Road to Mandalay,1,the Robber's Daughter,1,The Room,1,The Sacrament,1,The Salesman,1,The Snow King,1,The Sower,2,The Story of the Disappearance of Maryam,1,The Strange Saga of Hiroshi the Freeloading Sex Machine,1,The Suicide Chain,1,The Tiger: An Old Hunter's Tale,1,The Tokyo Night Sky is Always the Densest Shade of Blue,1,The Weird,1,Third WIndow,1,Three Sisters,1,Tôkaidô Yotsuya kaidan,1,Tokyo Ghoul,1,Tokyo Heaven,1,Tokyo Idols,1,Tokyo Vampire Hotel,1,Tolerance Film Festival,1,Tom Waller,2,Tony Leung,1,Tony Takitani,1,Toronto International Film Festival,1,Toshiaki Toyoda,2,Toshio Matsumoto,1,Toshiya Fujita,1,Traces of Sin,1,Train to Busan,1,Tran Ham,1,Trinh T. Minh-Ha,3,Twenty Two,1,Twilight Dinner,1,Twitch: You Are My Toy,1,Unbowed,1,Uncovered,1,Vaishali Sinha,1,Vampire Clay,1,Vampire Cleanup Department,1,Vannaphone Sitthirath,1,various,2,Vesoul International Film Festival,3,Victor Vu,1,Vietnam,3,Vikram Zushi,1,Vimukthi Jayasundara,1,Violated Angels,1,Vital,1,Vitaly Mansky,1,Voyage to Terengganu,1,Walk on Girl,1,Walking Past the Future,1,Wang Bing,2,Wang Lung-wei,1,We Make Antiques,1,Wellgo USA,1,West North West,2,Whispering Corridors,1,White Sun,1,Whore Angel,1,Wiman Rizkidarajat,1,Without Memory,1,Wol-Ha: Very Bad Moon Rising,1,Woman of the Lake,1,Woo Ming Jin,1,Wrath of Silence,1,Xaisongkham Induangchanthy,1,Xin Yukun,1,Yamato (California),3,Yang Chao,1,Yang Ik-june,1,Yang Jong-hyeon,1,Yeon Sang-ho,2,Yim Soon-rye,1,Yiu-wai Chu,1,Yoshihiro Nakamura,1,Yoshihiro Nishimura,1,Yoshishige Yoshida,1,Yoshitaka Mori,1,Yoshiyuki Kishi,1,Yosuke Takeuchi,2,Yotsuya kaidan,1,You Losers!,1,Your Name,1,Yu Aoi,2,Yu Irie,1,Yûji Tajiri,2,Yujiro Harumoto,1,Yuki Tanada,1,Yukihiko Tsutsumi,2,Yusaku Matsumoto,2,Yutaka Ikejima,3,Yuya Ishii,1,Zakka Films,2,Zen,1,Zhang Yimou,1,Zoo,1,Zuairijah Mou,1,
ltr
item
Asian Film Vault: Interview with Konrad Aderer: Telling a dramatic story through real-life experiences is a very powerful way to engage people in an issue
Interview with Konrad Aderer: Telling a dramatic story through real-life experiences is a very powerful way to engage people in an issue
We speak to Konrad Aderer about human rights, cinema, his career, the events at Tule Lake, and many other topics
https://2.bp.blogspot.com/-Y5qgILgcKB8/WQBJNtzHkjI/AAAAAAAALdw/OvT0lfv48KwOHenMURX1-3kg9o1jS8jBQCLcB/s320/1013902_10151726564428760_1963942016_n.jpg
https://2.bp.blogspot.com/-Y5qgILgcKB8/WQBJNtzHkjI/AAAAAAAALdw/OvT0lfv48KwOHenMURX1-3kg9o1jS8jBQCLcB/s72-c/1013902_10151726564428760_1963942016_n.jpg
Asian Film Vault
http://www.asianfilmvault.com/2017/04/interview-with-konrad-aderer-telling.html
http://www.asianfilmvault.com/
http://www.asianfilmvault.com/
http://www.asianfilmvault.com/2017/04/interview-with-konrad-aderer-telling.html
true
3944800929692556231
UTF-8
Loaded All Posts Not found any posts VIEW ALL Readmore Reply Cancel reply Delete By Home PAGES POSTS View All RECOMMENDED FOR YOU LABEL ARCHIVE SEARCH ALL POSTS Not found any post match with your request Back Home Sunday Monday Tuesday Wednesday Thursday Friday Saturday Sun Mon Tue Wed Thu Fri Sat January February March April May June July August September October November December Jan Feb Mar Apr May Jun Jul Aug Sep Oct Nov Dec just now 1 minute ago $$1$$ minutes ago 1 hour ago $$1$$ hours ago Yesterday $$1$$ days ago $$1$$ weeks ago more than 5 weeks ago Followers Follow THIS CONTENT IS PREMIUM Please share to unlock Copy All Code Select All Code All codes were copied to your clipboard Can not copy the codes / texts, please press [CTRL]+[C] (or CMD+C with Mac) to copy