"基本上是一20分钟的MV。背景声音来自于《two virgins》专辑。"
"有多少热爱摇滚的青年男女都以为自己就是约翰和洋子可世界上只有一个约翰只有一个洋子......"

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.

John Lennon and the Plastic Ono Band played their first and last performance at the Sweet Toronto Peace Festival in 1969 that featured Yoko Ono, famed guitarist Eric Clapton and renowned musicians Klaus Voorman (bass) and Alan White (drums).

This classic film captures John Lennon in the only performance with the Plastic Ono Band. The Plastic Ono Band is introduced by footage of individual performances including Bo Diddley, Chuck Berry, Jerry Lee Lewis and Little Richard.

Tracklist:
1. Bo Diddley - Bo Diddley
2. Hound Dog - Jerry Lee Lewis
3. Johnny B Goode - Chuck Berry
4. Lucille - Little Richard
5. Blue Suede Shoes - John Lennon
6. Money
7. You Make Me Dizzy Miss Lizzy - John Lennon
8. Yer Blues
9. Yer Blues - John Lennon
10. Cold Turkey - John Lennon
11. Give Peace A Chance - John Lennon
12. Don't Worry Kyoto (Mummy's Only Looking For Her Hand In the Snow) - Yoko Ono
13. John, John (Let's Hope For Peace) - Yoko Ono

Special features: an interview with Yoko Ono conducted in London in 1988 at the John Lennon Exhibition. She talks about how they met, how they named the Plastic Ono Band, and the period leading up to the Sweet Toronto concert.

1.Imagine (03:03)
2.Instant Karma! (03:21)
3.Mother (Single Edit) (03:55)
4.Jealous Guy (04:16)
5.Power To The People (03:19)
6.Cold Turkey (05:00)
7.Love (03:24)
8.Mind Games (04:14)
9.Whatever Gets You Thru the Night (03:21)
10.#9 Dream (04:48)
11.Stand By Me (03:28)
12.(Just Like) Starting Over (03:56)
13.Woman (03:28)
14.Beautiful Boy (04:01)
15.Watching The Wheels (03:33)
16.Nobody Told Me (03:34)
17.Borrowed Time (04:30)
18.Working Class Hero (03:50)
19.Happy Xmas (War Is Over) (03:35)
20.Give Peace A Chance (04:53)

电影《列侬和洋子：仅限于天空》讲述了约翰·列侬标志性的《Imagine》专辑背后不为人知的故事，同时也讲述了洋子和列侬的邂逅及东西方文化的交融。两颗艺术的头脑在爱情与音乐中碰撞，迸发出无与伦比的美妙火花，最终共同创作出这一辑传世之作。导演迈克尔·爱泼斯坦（Michael Epstein）收集了大量的列侬视频，音频和照片档案，包括许多以前从未见过的资料，并且该电影中的部分画面还是首次向世人披露。例如《Imagine》录的第一个小样（由他们的音频档案保管员在一个无记号的八轨音箱里发现的），以及首次公开的对列侬的音频采访，同时也收录了这对夫妇在工作室里一起工作的镜头。纪录片中还特别收录了在创作《Imagine》专辑期间这对夫妇的亲朋好友的采访。

2017 film by Alan Parker

Through stories and photographs, many never widely seen before, Give Peace a Chance will offer a chance to sit on the edge of the Bed-In, Suite 1742 at the Queen Elizabeth Hotel in Montreal between May 26 and June 2, 1969.
John Lennon and Yoko Ono used their bed as a way to put themselves and their message in the center of a searing spotlight, demonstrating through their vulnerability and openness their unrelenting support for their beliefs. No celebrity couple had ever used their bed as a place of protest, nor had anyone before been so available in person and by telephone to the world.
“We’re going to sell peace the way other people sell soap,” Lennon said to a young, accomplished photographer on assignment for Life magazine, Gerry Deiter. Deiter was our eyes in that hotel room, the only photographer there for the entire eight days of the bed-in. He was determined to capture the essence of the scene--in particular the love between the newlyweds in many intimate moments. He also candidly caught the famous people who dropped in: Timothy Leary, Tommy Smothers, Dick Gregory, Al Capp, Murray the K and others.

The Universe of Keith Haring by director Christina Clausen is an intimate portrait of world-renowned artist Keith Haring whose mantra was that "Art is for everyone!" The film is a thorough and intimate exploration of the background and career of one of the most popular and significant artists of the 20th century. The film features interviews and archival footage of Fab 5 Freddy, Jeffrey Deitch, Kim Hastreiter, Grace Jones, Madonna, Yoko Ono, David LaChapelle, Kenny Scharf, Carlo McCormick, Andy Warhol, Ann Magnuson, Tony Shafrazi, and Junior Vasquez, among many others. Audio excerpts from original interviews with Keith Haring, were conducted by Haring's biographer John Gruen (Keith Haring: the Authorized Biography). The film's theme song is by the famed DJ and record producer, Junior Vasquez, with an original soundtrack by Angelo Talocci. The film was edited by Silvia Giulietti.

Ono’s work related destruction to interpersonal, often intimate, human relations. This element was particularly thought-provoking in ‹Cut Piece›, one of many actions she did as DIAS [Destruction in Art Symposium]. Ono had first done the performance in 1964, in Japan, and again at Carnegie Hall, in New York, in 1965. Ono sat motionless on the stage after inviting the audience to come up and cut away her clothing, covering her breasts at the moemnt of unbosoming. ‹Cut Piece› entailed a disrobing, a denouement of the reciprocity between exhibitionism and scopic desires, between victim and assailant, between sadist and masochist: and, as a heterosexual herselft, Ono unveiled the gendered relationship of male and female subjects as objects for each other.
(source: Kristine Stiles,«Uncorrupted Joy: International Art Actions,» in: Out of Actions: between performance and the object, 1949–1979, Paul Schimmel (ed.), MoCA Los Angeles, New York/London, 1998, p. 278.)

The film starts in a situation where match is about to be lit. Everything is ready for the action to start. After the fingers who hold the match make a move, viewers expect to see a carefully canned initial flames erupting from the end of the match but they should prepare for disappointment: the fingers move the match out off the screen and the most interesting scene is, in a way, 'omitted' from the film. The fingers will return to the screen with the match and the fire is seen consuming the fuel in a gentle fashion.

The personal film archives of Yoko Ono were utilized for this feature-length documentary on the life of John Lennon. Predictably, it downplays Lennon's association with the Beatles and concentrates on his years with Ono. The film spends a lot of time recounting Lennon's anti-war activities, highlighted by a confrontation on a talk show hosted by conservative cartoonist Al Capp. The title of the documentary is, of course, taken from Lennon's idyllic ballad about a world free of hatred and discord. Imagine: John Lennon is a reverent but ultimately depressing chronicle of an artist who died the untimeliest of deaths.

Also known as Walden, Jonas Mekas’s first diary film is a six-reel chronicle of his life in 1960s New York, interweaving moments with family, friends, lovers, and artistic idols. Blending everyday encounters with portraits of the avant-garde art scene, it forms an epic, personal meditation on community, creativity, and the passage of time.

A surreal, half-fiction, half real life footage of a day in the life of John lennon and Yoko Ono, composed to music from John's historic 'Imagine' album and Yoko's 'Fly'.

The biography of former Beatle, John Lennon—narrated by Lennon himself—with extensive material from Yoko Ono's personal collection, previously unseen footage from Lennon's private archives, and interviews with David Bowie, his first wife Cynthia, second wife Yoko Ono and sons Julian and Sean.

记录的是披头士如何录制出经典名曲&专辑《Let It Be》。基于长达55小时的此前未曝光录像，包括披头士在录音室中制作的少见画面，拍摄时间为1969年1月2日-31日。1970年5月，《Let It Be》专辑发行，而当时乐队刚分崩离析。录像高潮为披头士那场著名演出——在伦敦萨维尔街苹果唱片公司总部旧址屋顶上的表演。

In the future, an outbreak of canine flu leads the mayor of a Japanese city to banish all dogs to an island used as a garbage dump. The outcasts must soon embark on an epic journey when a 12-year-old boy arrives on the island to find his beloved pet.