Art Theatre Shinjuku Bunka

Establishment Art Theatre Shinjuku Bunka (“Shinjuku Bunka” for short; “Bunka” means “culture” in Japanese) was formerly Shinjuku Eiga Theatre opened in July 1937 and was managed by Tōhō. In December 1937, it was renamed “Bunka News Theatre (Gekijō)” as a specialized hall for culture films (kulturfilm) and newsreels. Funded by the major studios led by Tōhō, ATG started as a distributor of foreign art films and was envisioned as a promoter and incubator of non-commercial cinema. Shinjuku Bunka, launched on April 20, 1962, was one of the ten cinemas of ATG’s nationwide chains that showed films distributed and later the ones produced by ATG. Operations and Interactions with ATG The screening of Patriotism (Yūkoku, 1966) by Mishima Yukio at Shinjuku Bunka was a great success and since then ATG started to form the idea of producing films. Shinjuku Bunka was the biggest sponsor of Terayama Shūji’s Tenjō Sajiki for the production of his plays and films. Closing After 1973, films made by ATG were much less radical than the earlier ones and most of ATG’s cinemas had bailed out because of insufficient profits and lack of foresight of the people in charge. In 1974, Shinjuku Bunka showed the last film, which was Pastoral: To Die in the Country (Den-en ni shisu, 1974) by Terayama Shūji and was closed after. The current location is the Shinjuku Bunka Bldg with Cinem@rt Shinjuku and kino cinéma Shinjuku. == Design ==

In 1962, the building of Shinjuku Bunka was painted a dark shade of grey inside-out, dim-lit, and was called “ossuary” (納骨堂, nōkotsudō) due to its appearance. The refurbishment was led by Kuzui and collaborated between artist Okamoto Tarō and stage designer Mitsubayashi Ryōtarō. Kuzui’s vision was to create a bold new type of cinema style, breaking the conventions from the look of the venue to the films shown. The grey tone referred to the fashion showroom in Paris, aiming to reduce decorations and enhance the function of encouraging concentrated film viewing. It was vividly isolated from the colours of the Shinjuku surroundings. When the audience walked out of the building after the movie, the scenery of Shinjuku from the film world and reality intertwined. Filmmakers who filmed in Shinjuku would aim for screenings at Shinjuku Bunka as the audience’s understanding of the Shinjuku zone was important in the appreciation of their works. == Theatre Scorpio ==

The 8mm or 16mm films made by some artists were unsuitable for the large screen at Shinjuku Bunka, thus Kuzui decided to convert the basement into a small underground art space for screening small-gauge films. == Influence and Related Exhibitions ==

Shinjuku Bunka, along with Sasori-za, played a crucial role in Japanese film culture and the intersection of various art forms with cinema. It was a legendary nexus for Japan’s experimental art scene. Together with the Sōgetsu Art Center, Shinjuku Bunka and Sasori-za became the centres of post-war avant-garde activities. Film In 2012, MoMA and the Japan Foundation held the large-scale exhibition Art Theater Guild and Japanese Underground Cinema, 1960–1986, in conjunction with the exhibition Tokyo 1955–1970: A New Avant-Garde, to acclaim its achievements. By encouraging up-and-coming artists of the time to experiment with different design approaches, ATG has elevated their graphics beyond advertising to artwork. In 2016, Poster Hari’s Gallery exhibited approximately 50 posters of the performances and films of Shinjuku Bunka and Sasori-za. In 2020, Kamakura City Kawakita Film Museum conducted The Revolutionary Film Posters of the Art Theatre Guild exhibition, showcasing works by artists including Awazu Kiyoshi and Yokoo Tadanori. == References ==