Born in 1935, in Ibaragi Prefecture. Jonouchi entered the Art Department of Nihon University; in 1957, along with his colleague Katsumi Hirano, he co-founded the Film Study Group in the Fine Art Department of Nihon University. He co-directed “The Record of N [N no Kiroku]” (59), the second production by the collective, documenting the disaster of the Ise Bay Typhoon. “Pou Pou” (60) is a chain of amorphously expanding phantasmagoric images, with insertions of the images taken from film classics. During the same period, looking ahead to the future after graduation, he co-founded the VAN Institute for Cinematic Science as a forum for film production, and began living communally with five members including Masao Adachi. In correspondence with the anti-art movement of the time, VAN Institute assumed a place for artists working in various media to gather together. A documentary of the Anti-Japan-US Security Treaty struggle of 1960, “Document 6.15” (61), was screened at the memorial assembly for Michiko Kanba, who was killed at the demonstration in front of the Diet Building. It was a pioneering experiment of ‘intermedia’ in Japan which showed symbolic close-up images of Kanbara along with the scenes re-enacting police brutality, meanwhile two completely different soundtracks were played together, slide projections of paintings were going on, and a live happening was taking place at the venue. Jonouchi subsequently produced “Document LSD” (62), documenting a public LSD experiment using himself as the object; “Hi Red Center Shelter Plan” (64), that was about an art event at the Imperial Hotel; “WOLS”(65), consisting of fragments of a painting by WOLS, which were put together through in-camera editing; “Hijikata Tatsumi,” which shot the stage of Tatsumi Hijikata frame by frame. Towards the 70’s Anti-Japan-US Security Treaty Struggle, he continued to document the student uprising, while successively producing the “Gewaltopia series” including “Hakusan Street by Nihon University [Nichidai Hakusan-dori]”(68), “The Mass Collective Bargaining at Nihon University” (68), “Gewaltopia Trailer” (69), and “Shinjuku Station” (74). By including live performances which created improvised sounds and editing the 　　films differently for each screening, and thus negating the idea of film as being complete, repeatable, and consumable — Jonouchi pursued ‘cinematic revolution.

Born in 1935, in Ibaragi Prefecture. Jonouchi entered the Art Department of Nihon University; in 1957, along with his colleague Katsumi Hirano, he co-founded the Film Study Group in the Fine Art Department of Nihon University. He co-directed “The Record of N [N no Kiroku]” (59), the second production by the collective, documenting the disaster of the Ise Bay Typhoon. “Pou Pou” (60) is a chain of amorphously expanding phantasmagoric images, with insertions of the images taken from film classics. During the same period, looking ahead to the future after graduation, he co-founded the VAN Institute for Cinematic Science as a forum for film production, and began living communally with five members including Masao Adachi. In correspondence with the anti-art movement of the time, VAN Institute assumed a place for artists working in various media to gather together. A documentary of the Anti-Japan-US Security Treaty struggle of 1960, “Document 6.15” (61), was screened at the memorial assembly for Michiko Kanba, who was killed at the demonstration in front of the Diet Building. It was a pioneering experiment of ‘intermedia’ in Japan which showed symbolic close-up images of Kanbara along with the scenes re-enacting police brutality, meanwhile two completely different soundtracks were played together, slide projections of paintings were going on, and a live happening was taking place at the venue. Jonouchi subsequently produced “Document LSD” (62), documenting a public LSD experiment using himself as the object; “Hi Red Center Shelter Plan” (64), that was about an art event at the Imperial Hotel; “WOLS”(65), consisting of fragments of a painting by WOLS, which were put together through in-camera editing; “Hijikata Tatsumi,” which shot the stage of Tatsumi Hijikata frame by frame. Towards the 70’s Anti-Japan-US Security Treaty Struggle, he continued to document the student uprising, while successively producing the “Gewaltopia series” including “Hakusan Street by Nihon University [Nichidai Hakusan-dori]”(68), “The Mass Collective Bargaining at Nihon University” (68), “Gewaltopia Trailer” (69), and “Shinjuku Station” (74). By including live performances which created improvised sounds and editing the 　　films differently for each screening, and thus negating the idea of film as being complete, repeatable, and consumable — Jonouchi pursued ‘cinematic revolution.

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少年鑑別所あがりの辰田清志は、自動車教習所で知り合った山西真知子と結婚し、大阪でアパート暮らしを始めたがあきっぽい性格のためかなかなか定職につけなかった。やがて真知子が妊娠したために京都郊外の実家に帰らざるをえなくなった。辰田の最初の殺人は昭和47年で被害者は辰田と顔見知りの19歳のＯＬ南悦子だ。 　　動物的な勘なのか、中山一也を見た瞬間、警告音が鳴り響きました。調べてみると、傷害事件、切腹などいろいろな奇行や事件を起こした“ホンモノ”。納得！あの生理的な嫌悪感は、演技を超えた何かなのではないでしょうか。作品としても最悪。

戒嚴末期的臺灣，小明再也不是大時代的犧牲品；她大膽幻想成為銀幕上的女主角們，並在異色電影院中擁抱屬於她自己的視聽快感。本片向楊德昌《牯嶺街少年殺人事件》以及楊家雲《瘋狂女煞星》致敬，看風流少女小明如何向父權體制展開迷狂的情慾復仇！

少年鑑別所あがりの辰田清志は、自動車教習所で知り合った山西真知子と結婚し、大阪でアパート暮らしを始めたがあきっぽい性格のためかなかなか定職につけなかった。やがて真知子が妊娠したために京都郊外の実家に帰らざるをえなくなった。辰田の最初の殺人は昭和47年で被害者は辰田と顔見知りの19歳のＯＬ南悦子だ。 　　動物的な勘なのか、中山一也を見た瞬間、警告音が鳴り響きました。調べてみると、傷害事件、切腹などいろいろな奇行や事件を起こした“ホンモノ”。納得！あの生理的な嫌悪感は、演技を超えた何かなのではないでしょうか。作品としても最悪。

主角「月女」從小就夢想著想要嫁來三條崙，十五歲夢想成真，跟隨著時代的起落，在三條崙度過她的少女時代。⠀ 　　月女阿嬤年輕時，在熱鬧的海水浴場和廟旁經營海產店，跟著時代一同起飛也一同落寞，而晚年，她被神明指定成為代言人，在宮廟裡通靈幫人解惑，但卻時常掛念著，自己在海口開店的風光以及她不堪的過去⋯