Born in Ibaraji County in 1935. Zhong Chi entered the art department of a Japanese university to study; In 1957, he co founded the Film Research Group of the Department of Fine Arts at the University of Japan with his colleague Katsumi Hirano. He co directed "N's Records" (59), which is the group's second work documenting the disaster of Typhoon Ise Bay. "Pou Pou" (60) is a series of unethically extended phantom images, inserted from images captured in classic movies. At the same time, looking forward to the future after graduation, he co founded the VAN Film Science Research Institute as a forum for film production and began living with five members, including Adachi Masao. In contrast to the anti art movement at the time, the VAN Institute provided a gathering place for artists working in various media. A documentary film titled "Document No. 6.15" (61) on the struggle for the 1960 Japan US Security Treaty was screened at a commemorative conference for Mizuko Kamba, who was killed in a demonstration in front of the Capitol building. This is a groundbreaking experiment by "media" in Japan, showcasing symbolic close-up images of Kampala and replaying scenes of police brutality, while two completely different soundtracks are played together. The slide projection of the painting is underway, and the scene is taking place. Jonouchi subsequently created "Document LSD" (62), documenting a public LSD experiment with himself as the subject; "Hi, Red Center Shelter Plan" (64), this is an art event about the Empire Hotel; "WOLS" (65) is composed of fragments of a painting from WOLS, which are combined through in camera editing; Hijikata Tatsumi filmed the stage of Hijikata Tatsumi frame by frame. In the anti Japanese US Security Treaty struggle of the 1970s, he continued to document student uprisings and continuously produced the "Gewaltopia series", including "Hakayama Street in Japanese universities" (68), "Collective bargaining in Japanese universities" (68), "Gewaltopia trailer" (69), and "Shinjuku Station" (74). Zhong Chi pursued a "film revolution" by including live performances, creating improvised sounds, and editing the film differently for each screening, thereby negating the concept of complete, repeatable, and consumable films.