PINK FILM

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ORIGINAL FROM: http://en.wikipedia.org/wiki/Pink_film


Pink film (ピンク映画 Pinku eiga or Pink eiga?) is a style of Japanese
softcore pornographic theatrical film. Films of this genre first
appeared in the early 1960s, and dominated the Japanese domestic
cinema from the mid-1960s through the mid-1980s.[1][2] In the 1960s,
the pink films were largely the product of small, independent studios.
In the 1970s, some of Japan's major studios, facing the loss of their
theatrical audience, took over the pink film. With their access to
higher production-values and talent, some of these films became
critical and popular successes.[3] 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.

escription of the pink film

"The eroductions are the limpest of softcore, and though there is much
breast and buttock display, though there are simulations of
intercourse, none of the working parts are ever shown. 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."
– Donald Richie (1972)[4]
The pink film, or "eroduction" as it was first called,[5] is a
cinematic genre without exact equivalent in the West.[3] Though called
pornography, the terms "erotica," "soft porn" and "sexploitation" have
been suggested as more appropriate, although none of these precisely
matches the pink film genre.[6] Due to the nature of Japanese
censorship laws, the display of genitals, and even pubic hair, were
long-held taboos in the genre. This restriction forced Japanese
filmmakers to develop sometimes elaborate means of avoiding showing
the "working parts", as Richie puts it.[4] In order to work around
this censorship, most Japanese directors positioned props—lamps,
candles, bottles, etc.—at strategic locations to block the banned body
parts. 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 "fogging".[7]
Some have claimed that it is this censorship which gives the Japanese
erotic cinema its particular style. 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. 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."[8] Contrasting the pink film with Western
pornographic films, Pia Harritz says, "What really stands out is the
ability of pinku eiga to engage the spectator in more than just scenes
with close-ups of genitals and finally the complexity in the
representation of gender and the human mind."[9]
Richie and Harritz both enumerate the fundamental elements of the pink
film formula as:
The film must have a required minimum quota of sex scenes[10]
The film must be approximately one hour in duration[11]
It must be filmed on 16 mm or 35 mm film within one week[12]
The film must be made on a very limited budget[13]
[edit]History of the pink film

[edit]Background to the pink film


Poster for the taiyozoku-themed Crazed Fruit (1956), a predecessor to
the pink film
In the years since the end of World War II, eroticism 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 1946.[14] Although throughout the 1940s and
early 1950s nudity in Japanese movie theaters, as in most of the
world, was a taboo,[15] some films from the mid-50s such as Shintoho's
female pearl-diver films starring buxom Michiko Maeda, began showing
more flesh than would have previously been imaginable in the Japanese
cinema.[16] During the same period, the taiyozoku films on the teen-
age "Sun Tribe", such as Kō Nakahira's Crazed Fruit (1956), introduced
unprecedented sexual frankness into Japanese films.[17]
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. Teas (1959) introduced female nudity into international
cinema, and were imported to Japan without problem.[15] Nevertheless,
until the early 1960s, graphic depictions of nudity and sex in
Japanese film could only be seen in single-reel "stag films," made
illegally by underground film producers such as those depicted in
Imamura's film The Pornographers (1966).[18]
[edit]First wave (The "Age of Competition" 1962–1971)
The first wave of the Pink film in Japan was contemporary with the
similar U.S. sexploitation film genres, the "nudie-cuties" and
"roughies".[19] Nudity and sex officially entered Japanese cinema with
Satoru Kobayashi's controversial and popular independent production
Flesh Market (Nikutai no Ichiba, 1962), which is considered the first
true pink film.[20] Made for 8 million yen, Kobayashi's independent
feature film took in over 100 million yen. Kobayashi remained active
in directing pink films until the 1990s. Tamaki Katori, the star of
the film, went on to become one of the leading early pink film stars,
appearing in over 600, and earning the title "Pink Princess".[21]
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. 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. Takechi won the lawsuit, and the
publicity surrounding the trial helped bring about a boom in the
production of pink films.[22]
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".[23] Though Japan's major studios,
such as Nikkatsu and Shochiku made occasional forays into pink film
territory in the 1960s, such as director Seijun Suzuki's Gate of Flesh
(1964)—the first mainstream Japanese film to contain nudity,[20] the
pink films of this era were mainly independent, low-budget
productions. Independent studios such as Nihon Cinema and World Eiga
made dozens of cheap, profitable "eroductions". Among the most
influential independent studios producing pink films in this era were
Shintōhō, Million Film, Kantō, and Ōkura.[6] Typically shown on a
three-film program, these films were made by these companies to show
at their own chain of specialty theaters.[24]
Another major pink film studio, Wakamatsu Studios, was formed by
director Kōji Wakamatsu in 1965, after quitting Nikkatsu. Known as
"The Pink Godfather",[25] and called "the most important director to
emerge in the pink film genre",[26] Wakamatsu's independent
productions are critically-respected works usually concerned with sex
and extreme violence mixed with political messages.[27] Three other
important pink film directors of this time, Kan Mukai, Kin'ya Ogawa
and Shinya Yamamoto are known as "The Heroes of the First Wave".[28]
In 1965, the same year as Wakamatsu became independent, directors Kan
Mukai and Giichi Nishihara established their own production companies—
Mukai Productions and Aoi Eiga.[29]
The "first queen of Japanese sex movies" was Noriko Tatsumi,[30] who
made films at World Eiga and Nihon Cinema with director Kōji Seki.[31]
Other major Sex Queens of the first wave of pink film included Setsuko
Ogawa,[32] Mari Iwai,[33] Keiko Kayama,[34] and Miki Hayashi.[35]
Other pink film stars of the era include Tamaki Katori, who appeared
in many films for Giichi Nishihara and Kōji Wakamatsu; Kemi Ichiboshi,
whose specialty was playing the role of a violated innocent;[36] and
Mari Nagisa.[37] 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.
[edit]Second wave (The Nikkatsu Roman Porno era 1971–1982)
Until the late 1960s, the "pink film" market was almost entirely the
domain of low-budget independent companies. 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. In
1972, Richie reported, "In Japan, the eroduction is the only type of
picture that retains an assured patronage."[38]
In order to tap into this lucrative audience, major studio Toei
entered the sexploitation market in 1971. 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."[39] Producer Kanji
Amao designed a group of series—shigeki rosen (Sensational Line),
ijoseiai rosen (Abnormal Line), and harenchi rosen (Shameless Line),
today collectively referred to as Toei's "Pinky Violence".[3][40] Most
of Toei's films in the pink film style used eroticism in conjunction
with violent and action-filled stories. 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.[41] Other series in the
Pinky Violence genre included Norifumi Suzuki's Girl Boss (Sukeban)
films, and the Terrifying Girls' High School films, both starring
Reiko Ike and Miki Sugimoto.[42][43] 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 #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.[44] Like Toei, Nikkatsu had made some
previous films in the sexploitation market, such as Story of Heresy in
Meiji Era (1968) and Tokyo Bathhouse (1968), which featured over 30
sex-film stars in cameo appearances.[45] Nikkatsu launched its Roman
Porno series in November 1971 with Apartment Wife: Affair In the
Afternoon, starring Kazuko Shirakawa.[46] The film became a huge hit,
inspired 20 sequels within seven years, establishing Shirakawa as
Nikkatsu's first "Queen", and successfully launched the high-profile
Roman porno series. Director Masaru Konuma says that there was
essentially no difference between the pink films and Roman Porno
except for the studio's higher budget.[47] Nikkatsu would make these
higher-quality pink films almost exclusively, at an average rate of
three per month,[48] 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.[49] The result was
a series that was popular both with audiences and with critics.[50]
One or two Roman Pornos appeared on the top-ten lists of Japanese
critics every year throughout the run of the series.[51] Nikkatsu's
higher-quality sex films essentially took the pink film market away
from the smaller, independent studios until the mid-1980s, when the AV
all but ended the theatrical pornographic film.[6]
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
Lust (1972) and Woman with Red Hair (1979), starring Nikkatsu's second
"Queen", Junko Miyashita.[52] He became known as the "King of Nikkatsu
Roman porno"[49][53] Noboru Tanaka, director of A Woman Called Sada
Abe (1975), is judged by many critics today to have been the best of
Nikkatsu's Roman Porno directors.[54][55] The S&M subgenre of the
Roman Porno was established in 1974 when the studio hired Naomi Tani
to star in Flower and Snake (based on an Oniroku Dan novel), and Wife
to be Sacrificed, both directed by Masaru Konuma.[56] Tani's immense
popularity established her as Nikkatsu's third Roman Porno Queen, and
the first of their S&M Queens.[57] Other subgenres of the pink film
developed under the Roman Porno line included "Violent Pink",
established in 1976 by director Yasuharu Hasebe.[58]
[edit]1980s
When ownership of VCRs first became widespread in the early 1980s, AVs
(adult videos) made their appearance and quickly became highly popular.
[59] As early as 1982 the AVs had already attained an approximately
equal share of the adult entertainment market with theatrical erotic
films.[60] In 1984, new government censorship policies and an
agreement between Eirin (the Japanese film-rating board) and the pink-
film companies added to Nikkatsu's difficulties by putting drastic new
restrictions on theatrical films. Theatrical pink movie profits
dropped 36% within a month of the new ruling.[60] Eirin dealt the
final blow to theatrical pornography in 1988 by introducing stricter
requirements for sex-related theatrical films. Nikkatsu was finally
forced to concede defeat to the AV industry, and closed its production
facilities in April 1988. Bed Partner (1988) was the final film of the
venerable 17-year-old Roman Porno series. Nikkatsu continued to
distribute films under the name Ropponica, and theatrical pornography
through Excess Films, however these were not nearly as popular or
critically respected as the Roman Porno series had been in its heyday.
[61] By the end of the 1980s, the AV had become established as the
main form of adult cinematic entertainment in Japan.
The dominant directors of pink films of the 1980s, Genji Nakamura,
Banmei Takahashi and Mamoru Watanabe are known collectively as "The
Three Pillars Of Pink".[62] All three were veterans of the pink film
industry since the 1960s. Coming to prominence in the 1980s, a time
when the theatrical porn film 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".[52]
By the time Nakamura joined Nikkatsu in 1983, he had already directed
over 100 films.[63] While the plots of his films, which could be
extremely misogynistic, were not highly respected, his visual style
earned him a reputation for "erotic sensitivity."[52] Nakamura
directed one of Japan's first widely-distributed, well-received films
with a homosexual theme, Legend of the Big Penis: Beautiful Mystery
(1983),[64] for Nikkatsu's ENK Productions, which was founded in 1983
to focus on gay-themed pink films.[3] Some of Nakamura's later pink
films were directed in collaboration with Ryūichi Hiroki, and Hitoshi
Ishikawa under the group pseudonym Go Ijuin.[65]
Banmei Takahashi directed "intricate, highly stylistic pinku eiga",
[66] including New World of Love (1994), the first Japanese theatrical
film to display genitals.[67] Another prominent cult director of this
era, Kazuo "Gaira" Komizu, is known for his Herschell Gordon Lewis-
influenced "splatter-eros" films, which bridge the genres of horror
and erotica.[68]
[edit]1990s
Nikkatsu, Japan's largest producer of pink films during the 1970s and
1980s, declared bankruptcy in 1993.[69] Nevertheless, even in this
most difficult period for the pink film, the genre never completely
died out, and continued exploring new artistic realms. 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.[70]
Three of the most prominent pink film directors of the 1990s, Kazuhiro
Sano, Toshiki Satō and Takahisa Zeze all made their directorial debuts
in 1989. A fourth, Hisayasu Satō, debuted in 1985. 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
"difficult"—dark, complex, and largely unpopular with the older pink
audience. 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. 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."[3]
[edit]Pink film today
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. 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.[3] Ueno was the first director of this
group to rise to prominence, acting as an "advance guard" for the
group when his Keep on Masturbating: Non-Stop Pleasure (1994) won the
"Best Film" award at the Pink Grand Prix.[71] Founded in 1989,[72] the
Pink Grand Prix has become a yearly highlight for the pink film
community by awarding excellence in the genre and screening the top
films.[73]
The 2000s have seen a significant growth in international interest in
the pink film. Director Mitsuru Meike's The Glamorous Life of Sachiko
Hanai (2003) made an impression in international film festivals and
gained critical praise.[74] A planned annual "women-only" pink film
festival was first held in South Korea in 2007, and again in November
2008.[75][76][77] In 2008 a company called Pink Eiga was formed with
the sole purpose of releasing pink films on DVD in the U.S.[78]
[edit]Directors

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:
Tarō Araki
Sachi Hamano
Yasuharu Hasebe
Ryuichi Hiroki
Toshiharu Ikeda
Yutaka Ikejima
Shinji Imaoka
Takashi Ishii
Teruo Ishii
Shunya Itō
Yoshikazu Katō
Satoru Kobayashi
Kazuo "Gaira" Komizu
Masaru Konuma
Minoru Kunizawa
Kiyoshi Kurosawa
Tatsumi Kumashiro
Mitsuru Meike
Yoshimitsu Morita
Kan Mukai
Giichi Nishihara
Kōyū Ohara
Kazuhiro Sano‎
Hisayasu Satō
Toshiki Satō
Kōji Seki
Kazuyoshi Sekine‎
Chūsei Sone
Masayuki Suo
Norifumi Suzuki
Yūji Tajiri
Banmei Takahashi
Tetsuji Takechi
Tetsuya Takehora
Yōjirō Takita
Rumi Tama
Noboru Tanaka
Toshiya Ueno
Kōji Wakamatsu
Mamoru Watanabe
Yumi Yoshiyuki
Takahisa Zeze

[edit]Actresses

Some notable pinku eiga actresses include:
Izumi Aki
Minami Aoyama
Asami
Mayu Asada
Lemon Hanazawa
Yumika Hayashi
Hotaru Hazuki
Rinako Hirasawa
Reiko Ike
Kiyomi Itō
Sakurako Kaoru
Tamaki Katori
Kyōko Kazama
Riri Kōda
Konatsu
Megumi Makihara
Junko Miyashita
Reiko Oshida
Motoko Sasaki
Yōko Satomi
Kazuko Shirakawa
Maki Tomoda
Miki Sugimoto
Rumi Tama
Naomi Tani
Noriko Tatsumi
Yumi Yoshiyuki

[edit]Notable Pink films and related genres

Main article: List of Japanese sexploitation films
[edit]Pink films
Flesh Market (Kobayashi, 1962)
The Embryo Hunts In Secret (Wakamatsu, 1966)
Inflatable Sex Doll of the Wastelands (Yamatoya, 1967)
Go, Go Second Time Virgin (Wakamatsu, 1969)
The Glamorous Life of Sachiko Hanai (Meike, 2003)
[edit]Erotic films
Daydream (Takechi, 1964)
[edit]Nikkatsu "Roman Porno"
Apartment Wife: Affair In the Afternoon (Nishimura, 1971)
Wife to be Sacrificed (Konuma, 1974)
A Woman Called Sada Abe (Tanaka, 1975)
Watcher in the Attic (Tanaka, 1976)
Angel Guts (9-film series, 1978–1994)
Woman with Red Hair (Kumashiro, 1979)
[edit]Toei "Pinky violence"
Female Convict 701: Scorpion (Itō, 1972)
Sex & Fury (Norifumi Suzuki, 1973)
School of the Holy Beast (Norifumi Suzuki, 1974)
Deep Throat in Tokyo (Mukai, 1975)
[edit]Awards

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.
[edit]Hochi Film Award
Mainstream film award.
1979
Best Actress—Junko Miyashita for The Woman with Red Hair'[79]
[edit]Kinema Junpo awards
Cinema bi-weekly journal film award.
1969
Best Independent Film—Shinya Yamamoto for Spring of Ecstasy (1968)[80]
1972
Best Director and Best Scriptwriter—Tatsumi Kumashiro for Ichijo's Wet
Lust[81]
[edit]Nikkatsu awards
Nikkatsu studio's in-house awards.
1985
Best Film—Shinji Somai for Love Hotel[82]
1987
Best Film—Junichi Suzuki for Angel Guts: Red Rope - "Until I
Expire"[83]
[edit]Ona-Pet Award
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."
1976
Terumi Azuma[84]
[edit]Pink Grand Prix
Hosted every April by PG magazine. Currently the major pink film award
ceremony. Founded 1989, covers 1988–present.
See: Pink Grand Prix
[edit]Pinky Ribbon Awards
Annual award held by the Kansai region Pink Link magazine. 2004–
present.
See: Pinky Ribbon Awards
[edit]Yokohama Film Festival
Mainstream film festival awards.
1985
Best New Director Shūsuke Kaneko for Koichiro Uno's Wet and Swinging,
OL yurizoku 19 sai and Eve-chan-no hime [85][86]
[edit]Zoom-Up Awards
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.[87] The awards continued to
at least 1994. 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
Best Actress—Mayuko Hino[88]
Best Supporting Actress—Naomi Oka[89]
Best Director—Mamoru Watanabe[90]
1984 Zoom-Up Awards
Best Director—Yōjirō Takita[91][92]
1985 Zoom-Up Awards
- Held in Shinjuku, Tokyo in May 1985.[93]
Best Actor—Toru Nakane[94]
Best Director—Yōjirō Takita[91][92][93]
1986 Zoom-Up Awards
Best Actor—Toru Nakane[94]
1989 Zoom-Up Awards
Best Director—Hitoshi Ishikawa[95]
Best New Director—Daisuke Goto[96]
1994 Zoom-Up Awards
Best New Director—Hiroshi Ando[97]
[edit]Notes

^ Richie, Donald (2001). "After the Wave". A Hundred Years of Japanese
Film: A Concise History. Tokyo: Kodansha International. ISBN
4-7700-2682-X. "For a time, almost half of the annual film production
figures released in Japan were composed of these hour-long mini-
features."
^ Domenig, Roland (2002). "Vital flesh: the mysterious world of Pink
Eiga". Archived from the original on 2004-11-18. Retrieved 2007-02-19.
"Since the mid-1960s, pink eiga have been the biggest Japanese film
genre... By the late 1970s the production of pink eiga together with
Roman Porno amounted to more than 70% of annual Japanese film
production."
^ a b c d e f Domenig, Roland (2002). "Vital flesh: the mysterious
world of Pink Eiga". Retrieved 2007-02-19.
^ a b Richie, Donald (1987) [1972]. "The Japanese Eroduction". A
Lateral View: Essays on Culture and Style in Contemporary Japan.
Berkeley, California: Stone Bridge Press. p. 156. ISBN 0-962813-74-5.
^ Domenig. Vital Flesh. "The term pink eiga was first coined in 1963
by journalist Murai Minoru. But it did not come into general use until
the late 1960s. In the early years the films were known as 'eroduction
films' (erodakushon eiga) or 'three-million-yen-films' (sanbyakuman
eiga)."
^ a b c Weisser, Thomas; Yuko Mihara Weisser (1998). Japanese Cinema
Encyclopedia: The Sex Films. Miami: Vital Books: Asian Cult Cinema
Publications. p. 20. ISBN 1-889288-52-7.
^ Weisser. p.23.
^ Richie. The Japanese Eroduction. p.163.
^ Harritz, Pia D (2006). "Consuming the Female Body: Pinku Eiga and
the case of Sagawa Issei". mediavidenskab. Retrieved 2007-07-07.
^ Richie. The Japanese Eroduction p.159–160. "In theory, directors are
instructed to aim at some kind of sex scene every five minutes; in
practice, however, it has proved almost impossible to construct a
story-line which allows this, with the results that sex scenes are
sometimes fewer but somewhat longer."
^ Domenig. Vital Flesh. "Pink eiga... typically 60 minutes long..."
^ Richie. The Japanese Eroduction p.157. "The shooting-time for each
remains short—a week at the most..."
^ Harritz. Writing in 2006, Pia Harritz gives the required budget as
about $35,000.
^ Bornoff, Nicholas (1994) [1991]. "18 (Naked Dissent)". Pink Samurai:
An Erotic Exploration of Japanese Society; The Pursuit and Politics of
Sex in Japan (Paperback ed.). London: HarperCollins. p. 602. ISBN
0-586-20576-4.
^ a b Weisser, p.22.
^ Anderson, Joseph; Donald Richie (1982). The Japanese Film: Art and
Industry (Expanded ed.). Princeton, New Jersey: Princeton University
Press. pp. 266–267.
^ Sato, Tadao (1987) [1982]. Gregory Barrett (translator). ed.
Currents in Japanese Cinema (paperback ed.). Tokyo: Kodansha. pp. 212–
213. ISBN 0-87011-815-3.
^ Sharp, Jasper. "Tetsuji Takechi: Erotic Nightmares". www.midnighteye.com.
Retrieved 2007-03-15.
^ Fentone, Steve (1998). "A Rip of the Flesh: The Japanese 'Pink Film'
Cycle". She 2 (11): p.5.
^ a b Weisser, p.21.
^ Connell, Ryann (March 2, 2006). "Japan's former Pink Princess trades
raunchy scenes for rural canteen". Mainichi Shimbun. Retrieved
2007-03-06.
^ Firsching, Robert. "Kuroi Yuki". Allmovie. Retrieved 2007-10-29.
"The resultant obscenity trial... ended with a landmark decision which
allowed complete narrative freedom in Japanese films. This development
paved the way for the thousands of softcore pinku eiga and S & M films
which would define Japanese exploitation cinema until... the late
'80s..."
^ Weisser, p.12.
^ Richie. A Hundred Years of Japanese Film
^ Weisser, p.287.
^ Desser, David (1988). Eros Plus Massacre: An Introduction to the
Japanese New Wave Cinema. Bloomington and Indianapolis: Indiana
University Press. pp. 99–101. ISBN 0-253-31961-7.
^ Iwauchi, Hideki; Koji Wakamatsu(interviewee). "Koji Wakamatsu Film
Director Interview". www.insite-tokyo.com. Retrieved 2007-07-07.
"He... produced numerous films that are shocking for their treatments
of sex, violence, and politics."
^ Weisser, p.105.
^ Sharp, Jasper (2008). Behind the Pink Curtain: The Complete History
of Japanese Sex Cinema. Guildford: FAB Press. p. 53. ISBN
978-1-903254-54-7.
^ Weisser, p.81.
^ Weisser, p.79.
^ Weisser, p.131.
^ Weisser, p.441.
^ Weisser, p.151.
^ Weisser, p.153.
^ Weisser, p.103.
^ Weisser, p.197.
^ Richie. The Japanese Eroduction, p.158.
^ Macias, p.189.
^ Macias, p.189
^ D., Chris (2005). Toei's Bad Girl Cinema (booklet to DVD set The
Pinky Violence Collection. Panik House Entertainment. p. 8.
^ Macias, p.190
^ Chris D., p.10.
^ Macias, Patrick (2001). "Nikkatsu's Roman Porno". TokyoScope: The
Japanese Cult Film Companion. San Francisco: Cadence Books. p. 187..
ISBN 1-56931-681-3.
^ Weisser, p.420, 434.
^ Sato. p.244.
^ Konuma, Masaru. Interviewed by Weisser, Thomas and Yuko Mihara
Weisser. (1998). "An Interview with Masaru Konuma; An exclusive ACC
interview with Nikkatsu's most notorious director conducted... in
Tokyo on November 6, 1998." in Asian Cult Cinema, #22, 1st Quarter
1999, p.21."The company wanted to convince people that these movies
were somehow different, perhaps to make them immediately socially
acceptable. However—from the creator's side—there was no difference
between the making of Roman Porn and Pink."
^ Bornoff, Nicholas (1994) [1991]. "Bye-Bye Pink Cinema, Hello Adult
Video". Pink Samurai: An Erotic Exploration of Japanese Society; The
Pursuit and Politics of Sex in Japan (Paperback ed.). London:
HarperCollins. p. 603. ISBN 0-586-20576-4.
^ a b Weisser, p.204
^ Macias, p.187. "While single men and curious couples alike lined up
for roman porno fare, film critics had no hesitations about singing
their praises."
^ Hirano, Kyoko (1987). "Japan". in William Luhr. World Cinema Since
1945. New York, NY: The Ungar Publishing Company. p. 412. ISBN
0-8044-3078-0. "at least one or two Roman Pornos have been chosen
every year since 1971 as among the ten best films of the year by
Japanese critics."
^ a b c Weisser, p.495.
^ Johnson, William (2003). "A New View of Porn: The Films of Tatsumi
Kumashiro" (PDF). Film Quarterly, vol. 57, no.1, Fall 2003. University
of California Press. pp. 12. Retrieved 2007-03-06.
^ Weisser, pp.323, 359.
^ Thompson, Bill (1985). "Jitsuroko [sic] Abe Sada". in Frank N.
Magill. Magill's Survey of Cinema: Foreign Language Films; Volume 4.
Englewood Cliffs, N.J.: Salem Press. pp. 1568–1573. ISBN
0-89356-247-5.
^ Konuma, p.22–23.
^ Weisser, p.329.
^ Hasebe, Yasuharu. (1998). Interviewed by Thomas and Yuko Mihara
Weisser in Tokyo, 1999, in Asian Cult Cinema, #25, 4th Quarter, 1999,
p.39.
^ Schönherr, Johannes (December 29, 2006). "Japanese AV - A Short
Introduction". Midnight Eye. Retrieved 2007-07-09.
^ a b Weisser, p.29.
^ Weisser, p.30, 63, 155.
^ Weisser, p.231.
^ Weisser, p.60
^ Weisser, p.229
^ Weisser, p.383.
^ Weisser, p.183.
^ Weisser, p.292.
^ Weisser, p.126–127.
^ Macias, p.188.
^ Zeze, Takahisa quoted in "Takahisa Zeze interview". midnighteye.com.
Retrieved 2007-10-04. "Question: "Pink film is often seen as one of
the last few reserves of the auteur. It is often said that as long as
you deliver so many sex scenes in one hour, the director can fill the
rest of the running time with whatever he wants. Is this true?" Zeze:
"Yes it is. We believed it was true at the time, so we tried to make
what we wanted to make...""
^ Sharp, Behind the Pink Curtain, p. 311.
^ "3. The Appearance of AV, and the Death of Roman Porno: The Pink
Film in Crisis (3. AVの登場とロマンポルノの終焉　ピンク映画の危機（1982-1989） - 3. AV no tōjō
to roman porno no shūen: pinku eiga no kiki (1982-1989))" (in
Japanese). biglobe.ne.jp. Retrieved 2010-07-13. "ピンク映画専門のミニコミ「NEW ZOOM-
UP」創刊。第一回ピンク大賞を選出し、授賞式を亀有名画座で行う"
^ Sharp, Jasper (2008-12-04). "Pink thrills: Japanese sex movies go
global". The Japan Times. Retrieved January 23, 2009.
^ Armstrong, Rod (2004). "THE GLAMOROUS LIFE OF SACHIKO HANAI". San
Francisco International Film Festival. Retrieved 2007-11-15.
^ "2008 핑크영화제 (Pink Film Festival)" (in Korean). www.pinkfilm.co.kr.
2008. Retrieved 2009-01-24.
^ "여성들을 위한 핑크영화 사천왕이 뜬다" (in Korean). news.mk.co.kr. 2008-10-15.
Retrieved 2009-03-15.
^ Park, Soo-mee (2008-11-03). "Erotic film fest pushes the envelope in
Korea: Pink Film Festival celebrates Japanese erotic satire". The
Hollywood Reporter. Retrieved 2009-06-20.
^ Hendrix, Grady (2009-01-14). "Pink Eiga". Variety. Retrieved
2009-01-24.
^ Weisser, p.331.
^ Weisser, p.417–418.
^ Weisser, p.204.
^ Weisser, p.252.
^ Weisser, p.45.
^ Weisser, p.507.
^ Weisser, p.448.
^ Awards for Shusuke Kaneko at IMDB
^ "Pink Films History" (in Japanese). www2u.biglobe.ne.jp. Retrieved
2008-12-02. "1980: 第一回ズームアップ映画賞開催"
^ "Mayuko Hino". X City. Retrieved 2008-12-02.
^ "Naomi Oka". X City. Retrieved 2008-12-02.
^ "ピンク映画の歴史 - 1962～現在 (Pink movie history—1962–present)" (in
Japanese). www.uplink.co.jp. Retrieved 2008-12-02.
^ a b "滝田洋二郎監督プロフィール (Director Yojiro Takita profile)" (in Japanese).
TIFF. Retrieved 2008-12-02.
^ a b "Yojiro Takita". pinkeiga.com. Retrieved 2009-02-23.
^ a b "6 ピンク　ズームアップ映画祭" (in Japanese). 6nozaki.web.fc2.com. Retrieved
2008-12-02.
^ a b "Japanish Erotica <1984>" (in Japanese). www.ygm-web.com.
Retrieved 2008-12-02.
^ "2004春号「映画少年、映画少女」編集長 石川均" (in Japanese). www.dgj.or.jp. Retrieved
2008-12-02.
^ "Daisuke Goto". PinkEiga. Retrieved 2008-12-02.
^ "SSFF Asia 2004 Program Highlights - Hiroshi Ando". www.shortshorts.org.
Retrieved 2008-12-02.
[edit]References

Domenig, Roland (2002). "Vital flesh: the mysterious world of Pink
Eiga". Archived from the original on 2004-11-18. Retrieved 2007-02-19.
Grossman, Andrew (April 2002). "The Japanese Pink Film: Tandem, the
Bedroom, and The Dream of Garuda". www.brightlightsfilm.com/.
Retrieved 2007-02-18.
Harritz, Pia D (2006). "Consuming the Female Body: Pinku Eiga and the
case of Sagawa Issei". mediavidenskab. Retrieved 2007-07-07.
Macias, Patrick (2001). TokyoScope: The Japanese Cult Film Companion.
San Francisco: Cadence Books. ISBN 1-56931-681-3.
Richie, Donald (1987) [1972]. "The Japanese Eroduction". A Lateral
View: Essays on Culture and Style in Contemporary Japan. Berkeley,
California: Stone Bridge Press. pp. 156–169. ISBN 0-962813-74-5.
Sharp, Jasper (2008). Behind the Pink Curtain: The Complete History of
Japanese Sex Cinema. Guildford: FAB Press. ISBN 978-1-903254-54-7.
Sharp, Jasper (2004-08-04). "Pink Films special". Midnight Eye.
Retrieved 2007-05-29.
Vieillot, Martin (April 2008). "Nikkatsu roman-porno : gloire et
décadence" (in French). EigaGoGo!. Retrieved 2010-06-06.
Weisser, Thomas; Yuko Mihara Weisser (1998). Japanese Cinema
Encyclopedia: The Sex Films. Miami: Vital Books: Asian Cult Cinema
Publications. ISBN 1-889288-52-7.
[edit]External links

P*G Web Site (Currently the leading journal on pink film)
PINKEIGA.COM Definitive resource for all things PINK EIGA outside of
Japan
Connell, Ryann (April 30, 2008). "Famous blue movie theater turns to
pink power to attract green youths". Mainichi Shimbun. Retrieved
2008-05-02.
Extensive list of Pinku Eiga films
KamuiX. "The World of Pinky Violence: An Intro". infini-tropolis.com.
Retrieved 2010-02-22.
Fan site/blog/clips
"Screen: Cinéma érotique Japonais" (in French). www.adultuz.com.
Retrieved 2007-10-17. (Pink Film Database)
"Pink Screen: Cinéma érotique Japonais" (in French). pinku.cho-
yaba.com. Retrieved 2007-10-17. (Pink Film Database)
"일본서브컬처탐방 로망포르노 - 제2회 (Japanese Subcultures: Roman Porno - pt.1)" (in
Korean). Hankook Ilbo. February 23, 2007. Retrieved 2009-01-16.
"일본서브컬처탐방 로망포르노 - 제2회 (Japanese Subcultures: Roman Porno - pt.2)" (in
Korean). Hankook Ilbo. March 3, 2007. Retrieved 2009-01-16.
"로망포르노와 핑크영화 (Roman Porno and Pink films pt.3)" (in Korean). Hankook
Ilbo. March 7, 2007. Retrieved 2009-01-16.