film - Pink film
Photograph by rbrwron Flickr.
Films of this genre first appeared in the early 1960s, and dominated the Japanese domestic cinema from the mid-1960s through the mid-1980s. Teas (1959) 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.S.
Some notable directors of pink films include: Some notable pinku eiga actresses 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. Donald Richie says, American pornography is kept forever on its elemental level because, showing all, it need do nothing else; Japanese eroductions have to do something else since they cannot show all.
Currently the major pink film award ceremony. The other yearly award was given for the Tsuma No Mibun , or girl you would like to marry. 1976 Hosted every April by PG magazine.
In films like his ero-guro series and Joys of Torture series of the late 1960s director Teruo Ishii had provided a model for Toei s sexploitation ventures by establishing a queasy mix of comedy and torture. 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. These directors even broke one of the fundamental pink rules by cutting down in the sex scenes in pursuit of their own artistic concerns.
In 1972, Richie reported, In Japan, the eroduction is the only type of picture that retains an assured patronage. In order to tap into this lucrative audience, major studio Toei entered the sexploitation market in 1971. 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.
Kumashiro directed a string of financial and critical hits unprecedented in Japanese cinematic history, including Ichijo s Wet Lust (1972) and Woman with Red Hair (1979), starring Nikkatsu s second Queen , Junko Miyashita. When ownership of VCRs first became widespread in the early 1980s, AVs (adult videos) made their appearance and quickly became highly popular. 2004–present. Mainstream film festival awards. 1985 The Zoom-Up Film Festival (ズームアップ映画祭) pink film awards began in 1980 for movies released in the previous year.
The following is a partial listing. Mainstream film award. 1979 Cinema bi-weekly journal film award. 1969 1972 Nikkatsu studio s in-house awards. 1985 1987 Tabloid magazine award for the girl you think of while masturbating . A fourth, Hisayasu Satō, debuted in 1985.
Takechi won the lawsuit, 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: The Sex Films, actress Naomi Tani calls this period in pink film production The Age of Competition . Another major pink film studio, Wakamatsu Studios, was formed by director Kōji Wakamatsu in 1965, after quitting Nikkatsu. Starting with Female Convict #701: Scorpion (1972), the Scorpion series starred Meiko Kaji, who had left Nikkatsu Studios to distance herself from their Roman Porno series. Also in 1971, Takashi Itamochi, president of Nikkatsu, Japan s oldest major film studio, made the decision to take his own company s high production values and professional talent out of action films and put them into the pink film genre.
At the beginning of the 1970s, now losing their audiences to television and imported American films, Japan s major film studios were struggling for survival. On the other hand, Roland Domenig, in his essay on the pink film, says 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.
The title Four Heavenly Kings of Pink (ピンク四天王, pinku shitenno?) was applied to these directors, at first sarcastically, by disgruntled theater owners. Their films display individualistic styles and introspective character indicative of the insecurity of Japan s post-bubble generation.
Since no listing of the awards seems to be presently available, the following scattered references are what items can be gleaned from the web. 1980 Zoom-Up Awards 1984 Zoom-Up Awards 1985 Zoom-Up Awards - Held in Shinjuku, Tokyo in May 1985. 1986 Zoom-Up Awards 1989 Zoom-Up Awards 1994 Zoom-Up Awards . 1994–present. Annual award held by the Kansai region Pink Link magazine.
The first kiss to be seen in Japanese film—discreetly half-hidden by an umbrella—caused a national sensation in 1946. Foreign films of this time, such as Ingmar Bergman s Summer with Monika (1953), Louis Malle s Les Amants (1958), and Russ Meyer s The Immoral Mr. sexploitation film genres, the nudie-cuties and roughies . In 1964, maverick kabuki, theater and film director Tetsuji Takechi helped invigorate the First Wave of pink film, by directing Daydream, the first big-budget pink film.
Pink film (ピンク映画, Pinku eiga or Pink eiga?) is a style of Japanese softcore pornographic theatrical film. for the next 17 years. 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.
Director Mitsuru Meike s The Glamorous Life of Sachiko Hanai (2003) 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. Their films were considered difficult —dark, complex, and largely unpopular with the older pink audience.
The stultified impulse has created some extraordinary works of art, a few films among them. Writing in 1972, at the commencement of the Second Wave of pink film, he qualifies his statement with, None of these, however, are found among eroductions. Richie and Harritz both enumerate the fundamental elements of the pink film formula as: In the years since the end of World War II, eroticism had been gradually making its way into Japanese cinema. Though the appearance of the AV (adult video) took away most of the pink film audience in the 1980s, films in this genre are still being produced. The pink film, or eroduction as it was first called, Some have claimed that it is this censorship which gives the Japanese erotic cinema its particular style.
Takechi s Black Snow (1965), resulted 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. Known together as the Seven Lucky Gods of Pink (ピンク七福神, shichifukujin?) they are Toshiya Ueno, Shinji Imaoka, Yoshitaka Kamata, Toshiro Enomoto, Yūji Tajiri, Mitsuru Meike and Rei Sakamoto. The 2000s have seen a significant growth in international interest in the pink film.
Known as The Pink Godfather , The first queen of Japanese sex movies was Noriko Tatsumi, Younger starlets like Naomi Tani, and Kazuko Shirakawa were starting their careers and already making names for themselves in the pink film industry, but are best remembered today for their work with Nikkatsu during the 1970s. Until the late 1960s, the pink film market was almost entirely the domain of low-budget independent companies.
