Art Theatre Shinjuku Bunka (Japanese: ã¢ã¼ãÂÂã·ã¢ã¿ã¼æ°宿æÂÂå or æ°宿æÂÂÃ¥ÂÂÃ¥ÂÂå ´) is the flagship cinema of the Japanese independent film production and distribution company Art Theatre Guild (ATG) operated from 1962 to 1974. It provided a venue for films outside the Japanese studio system. In 1967, ATG opened the Theatre Scorpio (Japanese: èÂÂ座; Sasori-za) in the basement of Art Theatre Shinjuku Bunka, which was JapanâÂÂs first space to present experimental films in the form of a theatrical run. Art Theatre Shinjuku Bunka and Theatre Scorpio jointly became a hub for Japanese underground arts and cultures of the 1960s-70s.
Art Theatre Shinjuku Bunka (âÂÂShinjuku Bunkaâ for short; âÂÂBunkaâ means âÂÂcultureâ in Japanese) was formerly Shinjuku Eiga Theatre opened in July 1937 and was managed by Tà Âhà Â. In December 1937, it was renamed âÂÂBunka News Theatre (Gekijà Â)â as a specialized hall for culture films (kulturfilm) and newsreels.
ATG was initiated by Kawakita Kashiko and established on November 15, 1961. Funded by the major studios led by Tà Âhà Â, 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 ATGâÂÂs nationwide chains that showed films distributed and later the ones produced by ATG.
The screening of Patriotism (Yà «koku, 1966) by Mishima Yukio at Shinjuku Bunka was a great success and since then ATG started to form the idea of producing films. From 1967, ATG began producing films outside the studio system which were referred to as âÂÂ10 million yen movies (issenman-en eiga)â due to their modest budget. The first film ATG co-produced was the documentary A Man Vanishes (Ningen Jà Âhatsu, 1967) by Shohei Imamura.
Kuzui Kinshirà  (èÂÂäºÂ欣士éÂÂ), general manager and producer at Shinjuku Bunka, was pivotal in expanding Shinjuku Bunka into a comprehensive art theatre. Besides showing ATG titles, Kuzui brought in local experimental filmmakersâ works. Under his management, the pink eiga (pink film) that was turned into political propaganda and formal experiments became available to a large audience and a serious subject for film critics.
He also organized theatrical performances at Shinjuku Bunka when the films were over in the evenings since 1963, including plays written by Mishima Yukio and Kara Jà «rà Â, and Ninagawa YukioâÂÂs debut as a director. Shinjuku Bunka was the biggest sponsor of Terayama Shà «jiâÂÂs Tenjà  Sajiki for the production of his plays and films.
After 1973, films made by ATG were much less radical than the earlier ones and most of ATGâÂÂs 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 ' (Den-en ni shisu, 1974) by Terayama Shà «ji and was closed after.
The current location is the Shinjuku Bunka Bldg with Cinem@rt Shinjuku and kino cinéma Shinjuku.
In 1962, the building of Shinjuku Bunka was painted a dark shade of grey inside-out, dim-lit, and was called âÂÂossuaryâ (ç´Â骨å Â, nà Âkotsudà Â) due to its appearance. The refurbishment was led by Kuzui and collaborated between artist Okamoto Tarà  and stage designer Mitsubayashi Ryà Âtarà Â. KuzuiâÂÂs 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.
The location of the building in Shinjuku was important for the movie-viewing experience as the streets of Shinjuku were common stages of films shown and produced by ATG, including Diary of a Shinjuku Thief (Shinjuku Dorobà  Nikki, 1969) and Funeral Parade of Roses (Bara no Sà Âretsu, 1969). 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 audienceâÂÂs understanding of the Shinjuku zone was important in the appreciation of their works.
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.
On June 10, 1967, Theatre Scorpio (full name in Japanese: ã¢ã³ãÂÂã¼ã°ã©ã¦ã³ãÂÂèÂÂ座; Underground Sasori-za) opened downstairs of Shinjuku Bunka. Sasori-za was named by Mishima Yukio, as a tribute to Kenneth AngerâÂÂs film Scorpio Rising (1963).
The first film shown there was thought to be the first Japanese experimental feature-length film, Adachi MasaoâÂÂs Galaxy (Gingakei, 1967). Other notable events include Hijikata TatsumiâÂÂs butoh dance performance.
It served as a night salon after the screening or performance and its frequent visitors such as à Âshima Nagisa and Teshigahara Hiroshi would meet, drink, and chat there. It provided a testing ground for collaboration among filmmakers, musicians, dancers, writers, performance artists, and others from various areas.
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 JapanâÂÂs experimental art scene.
Together with the Sà Âgetsu Art Center, Shinjuku Bunka and Sasori-za became the centres of post-war avant-garde activities. They were also the favourite hangout spots for many young people and refuges for the New Left students to escape from the police, similar to the Fà «getsudà  cafe.
In 2012, MoMA and the Japan Foundation held the large-scale exhibition Art Theater Guild and Japanese Underground Cinema, 1960âÂÂ1986, in conjunction with the exhibition Tokyo 1955âÂÂ1970: A New Avant-Garde, to acclaim its achievements.
ATG reflected the goal of promoting quality art films in its fliers and programs. 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 HariâÂÂs 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.