简介：Bornin1935,inIbaragiPrefecture.JonouchienteredtheArtDepartmentofNihonUniversity;in1957,alongwithhiscolleagueKatsumiHirano,heco-foundedtheFilmStudyGroupintheFineArtDepartmentofNihonUniversity.Heco-directed“TheRecordofN[NnoKiroku]”(59),thesecondproductionbythecollective,documentingthedisasteroftheIseBayTyphoon.“PouPou”(60)isachainofamorphouslyexpandingphantasmagoricimages,withinsertionsoftheimagestakenfromfilmclassics.Duringthesameperiod,lookingaheadtothefutureaftergraduation,heco-foundedtheVANInstituteforCinematicScienceasaforumforfilmproduction,andbeganlivingcommunallywithfivemembersincludingMasaoAdachi.Incorrespondencewiththeanti-artmovementofthetime,VANInstituteassumedaplaceforartistsworkinginvariousmediatogathertogether.AdocumentaryoftheAnti-Japan-USSecurityTreatystruggleof1960,“Document6.15”(61),wasscreenedatthememorialassemblyforMichikoKanba,whowaskilledatthedemonstrationinfrontoftheDietBuilding.Itwasapioneeringexperimentof‘intermedia’inJapanwhichshowedsymbolicclose-upimagesofKanbaraalongwiththescenesre-enactingpolicebrutality,meanwhiletwocompletelydifferentsoundtrackswereplayedtogether,slideprojectionsofpaintingsweregoingon,andalivehappeningwastakingplaceatthevenue.Jonouchisubsequentlyproduced“DocumentLSD”(62),documentingapublicLSDexperimentusinghimselfastheobject;“HiRedCenterShelterPlan”(64),thatwasaboutanarteventattheImperialHotel;“WOLS”(65),consistingoffragmentsofapaintingbyWOLS,whichwereputtogetherthroughin-cameraediting;“HijikataTatsumi,”whichshotthestageofTatsumiHijikataframebyframe.Towardsthe70’sAnti-Japan-USSecurityTreatyStruggle,hecontinuedtodocumentthestudentuprising,whilesuccessivelyproducingthe“Gewaltopiaseries”including“HakusanStreetbyNihonUniversity[NichidaiHakusan-dori]”(68),“TheMassCollectiveBargainingatNihonUniversity”(68),“GewaltopiaTrailer”(69),and“ShinjukuStation”(74).Byincludingliveperformanceswhichcreatedimprovisedsoundsandeditingthe filmsdifferentlyforeachscreening,andthusnegatingtheideaoffilmasbeingcomplete,repeatable,andconsumable—Jonouchipursued‘cinematicrevolution.…