Pink film - Wikipedia. Pink film(. 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.

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Recently, filmmakers have increasingly used video (while retaining their emphasis on soft- core narrative). Many theaters swapped 3. This article places the pink film in the larger context of postwar erotic cinema. Pink films became wildly popular in the mid- 1. Japanese domestic cinema through the mid- 1. Around 1. 97. 0, the major studio Nikkatsu started focusing almost exclusively on erotic content, but another major Toei 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.

Indeed, one pubic hair breaks an unwritten but closely observed code. Though this last problem is solved by shaving the actresses, the larger remains: how to stimulate when the means are missing. This restriction forced Japanese filmmakers to develop sometimes elaborate means of avoiding showing the . 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 . Donald Richie says, . The stultified impulse has created some extraordinary works of art, a few films among them.

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None of these, however, are found among eroductions. The first kiss to be seen in Japanese film—discreetly half- hidden by an umbrella—caused a national sensation in 1. Teas (1. 95. 9) introduced female nudity into international cinema, and were imported to Japan without problem. Kobayashi remained active in directing pink films until the 1. Tamaki Katori, the star of the film, went on to become one of the leading early pink film stars, appearing in over 6.

Takechi's Black Snow (1. Japan's intellectuals and the establishment. Takechi won the lawsuit, and the publicity surrounding the trial helped bring about a boom in the production of pink films. Independent studios such as Nihon Cinema and World Eiga made dozens of cheap, profitable . Among the most influential independent studios producing pink films in this era were Shint.

At the beginning of the 1. American films, Japan's major film studios were struggling for survival. In 1. 97. 2, Richie reported, . In films like his ero- guro series and Joys of Torture series of the late 1. Teruo Ishii provided a model for Toei's sexploitation ventures by . Several of these films have the theme of strong women exacting violent revenge for past injustices.

The series was launched with the Delinquent Girl Boss (Zubeko Bancho) films starring Reiko Oshida. Starting with Female Convict #7. Scorpion (1. 97. 2), the Scorpion series starred Meiko Kaji, who 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 (1. Norifumi Suzuki. Toei also produced a whole series of erotic samurai pictures such as Bohachi Bushido: Clan of the Forgotten Eight (B. 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. Kumashiro directed a string of financial and critical hits unprecedented in Japanese cinematic history, including Ichijo's Wet Desire (1.

Woman with Red Hair (1. Junko Miyashita. Theatrical pink movie profits dropped 3. Nikkatsu responded by discontinuing their Roman Porno line. Bed Partner (1. 98. 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 1.

Some critics dubbed the style of their films . Indeed, at this time the pink film was viewed as one of the last refuges of the . So long as the director provided the requisite number of sex scenes, he was free to explore his own thematic and artistic interests. A fourth, Hisayasu Sat.

Coming to prominence during one of the most precarious times for the pink film, these 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 . On the other hand, Roland Domenig, in his essay on the pink film, says that their work offers . Their films display individualistic styles and introspective character indicative of the insecurity of Japan's post- bubble generation. Known together as the .

Director Mitsuru Meike's The Glamorous Life of Sachiko Hanai (2. Some notable directors of pink films include: Actresses. The following is a partial listing. Hochi Film Award. The other yearly award was given for the . Currently the major pink film award ceremony.

Founded 1. 98. 9, covers 1. Pinky Ribbon Awards. Yokohama Film Festival. Since no listing of the awards seems to be presently available, the following scattered references are what items can be gleaned from the web. Zoom- Up Awards (1. Zoom- Up Awards (1. Zoom- Up Awards (1.

Zoom- Up Awards (1. Zoom- Up Awards (1. Held in Shinjuku, Tokyo in May 1. Free Downloads Rings (2017) there. Japanese Cinema Encyclopedia: The Sex Films. Vital Books.^e. g.

Jasper Sharp. Behind the Pink Curtain: The Complete History of Japanese Sex Cinema. A Hundred Years of Japanese Film: A Concise History. Tokyo: Kodansha International. ISBN 4- 7. 70. 0- 2. X. 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 2. Retrieved 2. 00. 7- 0.

Since the mid- 1. Japanese film genre.. By the late 1. 97.

Roman Porno amounted to more than 7. Japanese film production. Retrieved 2. 00. 7- 0. A Lateral View: Essays on Culture and Style in Contemporary Japan.

Berkeley, California: Stone Bridge Press. ISBN 0- 9. 62. 81.

Vital Flesh. But it did not come into general use until the late 1. In the early years the films were known as 'eroduction films' (erodakushon eiga) or 'three- million- yen- films' (sanbyakuman eiga). Japanese Cinema Encyclopedia: The Sex Films. Miami: Vital Books: Asian Cult Cinema Publications.

ISBN 1- 8. 89. 28. The Japanese Eroduction.

Harritz, Pia D (2. Archived from the original on 2.

Retrieved 2. 00. 7- 0. The Japanese Eroduction pp. Vital Flesh. The Japanese Eroduction p. Writing in 2. 00. Pia Harritz gives the required budget as about $3. Bornoff, Nicholas (1.

Pink Samurai: An Erotic Exploration of Japanese Society; The Pursuit and Politics of Sex in Japan (Paperback ed.). London: Harper. Collins. ISBN 0- 5. 86- 2. Anderson, Joseph; Donald Richie (1. The Japanese Film: Art and Industry (Expanded ed.). Princeton, New Jersey: Princeton University Press.

Gregory Barrett (translator), ed. Currents in Japanese Cinema (paperback ed.). Tokyo: Kodansha. ISBN 0- 8. Retrieved 2. 00. 7- 0. Connell, Ryann (March 2, 2.

Mainichi Shimbun. Retrieved 2. 00. 7- 0. Retrieved 2. 00. 7- 1.

The resultant obscenity trial.. This development paved the way for the thousands of softcore pinku eiga and S & M films which would define Japanese exploitation cinema until.. A Hundred Years of Japanese Film^Weisser, p. Desser, David (1. Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema. Bloomington and Indianapolis: Indiana University Press. ISBN 0- 2. 53- 3.

Archived from the original on 2. Retrieved 2. 00. 7- 0. Sharp, Jasper (2.

Behind the Pink Curtain: The Complete History of Japanese Sex Cinema. Guildford: FAB Press. ISBN 9. 78- 1- 9. Weisser, p. 7. 9.^Weisser, p. Weisser, p. 4. 41.^Weisser, p. Weisser, p. 1. 53.^Weisser, p.

Weisser, p. 1. 97.^Richie. The Japanese Eroduction, p. Macias, p. 1. 89.^Macias, p. D., Chris (2. 00.