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In this narrower sense, Nikkatsu 's Roman Porno series, Toei's Pinky Violence series and the Tokatsu films distributed by Shochiku would not be included as these studios have much larger distribution networks. Until the early s, they were almost exclusively shot on 35mm film. Recently, filmmakers have increasingly used video while retaining their emphasis on soft-core narrative.

Many theaters swapped 35mm for video projectors and began relying on old videos to meet the demand of triple-feature showings. This article places the pink film in the larger context of postwar erotic cinema. Pink films became wildly popular in the mids and dominated the Japanese domestic cinema through the mids. Aroundthe major studio Nikkatsu started focusing almost exclusively on erotic content, but Toeianother major film production company, started producing a line of what came to be known as Pinky Violence films.

With their access to higher production values and talent, some of these films became critical and popular successes. The "pink film," or "eroduction" erotic production as it was first called, [7] is a cinematic genre without exact equivalent in the West. The Japanese film ethics board Eirin has long enforced a ban on the display of genitals and pubic hair. This restriction forced Japanese filmmakers to develop sometimes elaborate means of avoiding showing the "working parts", as author Donald Richie puts it.

When this was not done, the most common alternative techniques are digital scrambling, covering the prohibited area with a black box or a fuzzy white spot, known as a mosaic or " fogging. Some have claimed that it is this censorship that gives the Japanese erotic cinema its particular style. Donald Richie says, "American pornography is kept forever on new pink porn elemental level because, showing all, it need do nothing else; Japanese eroductions have to do something else since they cannot show all.

The stultified impulse has created some extraordinary works of art, a few films among them. None of these, however, are found among eroductions.

Contrasting the pink film with Western pornographic filmsPia Harritz says, "What really stands out is the ability of pinku eiga to engage the spectator new pink porn more than just scenes with close-ups of genitals and finally the complexity in the representation of gender and the human mind. In the years since the end of World War IIeroticism had been gradually making its way into Japanese cinema.

The first kiss to be seen in Japanese film—discreetly half-hidden by an umbrella—caused a national sensation in new pink porn Teas introduced female nudity into international cinema, and were imported to Japan without problem. The first wave of the pink film in Japan was contemporary with the similar U.

Kobayashi remained active in directing pink films until the s. Tamaki Katorithe star of the film, went on to become one of the leading early pink film stars, appearing in overand earning the title "Pink Princess". Inmaverick kabukitheater and film director Tetsuji Takechi directed Daydreama big-budget film distributed by the major studio Shochiku. Takechi's Black Snowresulted in the director's arrest on charges of obscenity and a high-profile trial, which became a major battle between Japan's intellectuals and the establishment.

Takechi won the lawsuit, new pink porn, and the publicity surrounding the trial helped bring about a boom in the production of pink films. In her introduction to the Weisser's Japanese Cinema Encyclopedia: Independent studios such as Nihon Cinema and World Eiga made dozens of cheap, profitable "eroductions".

Known as "The Pink Godfather", [27] and called "the most important director to emerge in the pink film genre", new pink porn, [28] Wakamatsu's independent productions are critically respected works usually concerned with sex and extreme violence mixed with political messages. Until the late s, the "pink film" market was almost entirely the domain of low-budget independent companies. At the beginning of the s, now losing their audiences to television and imported American films, Japan's major film studios were struggling for survival.

InRichie reported, "In Japan, the eroduction is the only type of picture that retains an assured patronage. In films like his ero-guro series and Joys of Torture series of the late s director Teruo Ishii provided a model for Toei's sexploitation ventures by "establishing a queasy mix of comedy and torture.

Several of these films have the theme of strong women exacting violent revenge for past injustices. Other examples of Toei's films in this genre include Shunya Ito 's Sasori Scorpion series of women in prison films based on Toru Shinohara 's manga.

Starting with Female Convict Scorpionthe Scorpion series starred Meiko Kajiwho had left Nikkatsu Studios to distance herself from their Roman Porno series. Toei also set the standard for Japanese nunsploitation films a subgenre imported from Italy with the critically acclaimed School of the Holy Beast directed by Norifumi Suzuki. Toei also produced a whole series of erotic samurai pictures such as Bohachi Bushido: In Takashi Itamochi, president of Nikkatsu, Japan's oldest major film studio, decided to stop his own company's involvement with action films and start making sexploitation films.

Affair In the Afternoonstarring Kazuko Shirakawa. Director Masaru Konuma says that the process of making Roman Porno was the same as that of making a pink film except for the higher budget. Nikkatsu gave its Roman porno directors a great deal of artistic freedom in creating their films, as long as they met the official minimum quota of four nude or sex scenes per hour.

Tatsumi Kumashiro was one of the major directors of the Roman Porno. Kumashiro directed a string of financial and critical hits unprecedented in Japanese cinematic history, including Ichijo's Wet Desire and Woman with Red Hairstarring Junko Miyashita. When ownership of VCRs first became widespread in the early s, adult videos made their appearance, new pink porn, and quickly became highly popular. Nikkatsu responded by discontinuing their Roman Porno line.

Bed Partner was the final film of the venerable year-old Roman Porno series. Nikkatsu continued to distribute films under the name Ropponica, and pink films through Excess Films, however these were not nearly as popular or critically respected as the Roman Porno series had been in its heyday. Coming to prominence in the s, a time when the theatrical porn free femboy porn videos was facing considerable difficulties on several fronts, this group is known for elevating the pink film above its low origins by concentrating on technical finesse and narrative content.

Some critics dubbed the style of their films " pink art". By the time Nakamura joined Nikkatsu inhe had already directed over films. Beautiful Mystery[66] for Nikkatsu's ENK Productions, which was founded in to focus on gay-themed pink films. Banmei Takahashi directed "intricate, highly new pink porn pinku eiga ", [68] including New World of Lovenew pink porn, the first Japanese theatrical film to display genitals.

Nikkatsu, Japan's largest producer of pink films during the s and s, filed for bankruptcy protection in Indeed, at this time the pink film was viewed as one of the last refuges of the " auteur " in Japan. So long as the director provided the requisite number of sex scenes, he was free to explore his own thematic and artistic interests. Coming to prominence during one of the most precarious times for the pink filmthese directors worked under the assumption that each film could be their last, and so largely ignored their audience to concentrate on intensely personal, experimental themes.

These directors even broke one of the fundamental pink rules by cutting down in the sex scenes in pursuit of their own artistic concerns. Their films were considered "difficult"—dark, complex, and largely unpopular with the older pink audience. On the other hand, Roland Domenig, in his essay on the pink filmsays that their work offers "a refreshing contrast to the formulaic and stereotyped films that make up the larger part of pink eiga production, and are strongly influenced by the notion of the filmmaker as auteur.

The newest prominent group of seven pink film directors all began as assistant directors to the shitenno. Their films display individualistic styles and introspective character indicative of the insecurity of Japan's post-bubble generation.

The s have seen a significant growth in international interest in the pink film. Director Mitsuru Meike's The Glamorous Life of Sachiko Hanai made an impression in international film festivals and gained critical praise. While some directors have used pink films as a steppingstone for their careers, others work exclusively with the genre.

Some notable directors of pink films include:. Outstanding Pink films and their actors and directors have been given awards both from the adult entertainment industry and from the mainstream film community. The following is a partial listing. Nikkatsu studio's in-house awards. Tabloid magazine award for "the girl you think of while masturbating". The other yearly award was given for the "Tsuma No Mibun", or "girl you would like to marry. Hosted every April by PG magazine. Currently the major pink film award ceremony.

Foundedcovers —present. Annual award held by the Kansai region Pink Link magazine. Since no listing of the awards seems to be presently available, the following scattered references new pink porn what items can be gleaned from the web. From Wikipedia, the free encyclopedia. Indeed, one pubic hair breaks an unwritten but closely observed code.

Though this last problem is solved by shaving the actresses, the larger remains: List of Nikkatsu Roman Porno films and Category: List of Japanese sexploitation films. List of Nikkatsu Roman Porno films. Behind the Pink Curtain: A Hundred Years of Japanese Film: For a time, almost half of the annual film production figures released in Japan were composed of these hour-long mini-features.

Archived from the original on Since the mids, pink eiga have been the biggest Japanese film genre Essays on Culture and Style in Contemporary Japan. But it did not come into general use until the late s. In the early years the films were known as 'eroduction films' erodakushon eiga or 'three-million-yen-films' sanbyakuman eiga. Asian Cult Cinema Publications.

Pinku Eiga and the case of Sagawa Issei". The Japanese Eroduction pp. The Japanese Eroduction p. Art and Industry Expanded ed. Gregory Barrett translatored. Currents in Japanese Cinema paperback ed. The Japanese 'Pink Film' Cycle".

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