|
in its broadest sense includes almost any Japanese theatrical film that includes nudity (hence 'pink') or deals with sex.〔Thomas and Yuko Mihara Weisser. 1998. ''Japanese Cinema Encyclopedia: The Sex Films.'' Vital Books.〕 This encompasses everything from dramas to action thrillers and exploitation film features. However, some writers have reserved the term 'pink film' for Japanese sex movies produced and distributed by smaller independent studios such as OP Eiga, Shintōhō Eiga, Kokuei and Xces. 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.〔eg. Jasper Sharp. 2008. ''Behind the Pink Curtain: The Complete History of Japanese Sex Cinema.'' Fab Press. or the authors of the article on Pink films in the Japanese wikipedia (:ja:ピンク映画)〕 Until the early 2000s, 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 mid-1960s and dominated the Japanese domestic cinema through the mid-1980s. In the 1960s, the pink films were largely the product of small, independent studios. Around 1970, 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. Though the appearance of the adult video led viewers to move away from pink film in the 1980s, films in this genre are still being produced. ==Description== "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) The "pink film," or "eroduction" (erotic production) as it was first called,〔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)."〕 is a cinematic genre without exact equivalent in the West.〔 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. 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 Richie puts it.〔 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 a mosaic or "fogging."〔Weisser. p.23.〕 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 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. None of these, however, are found among eroductions."〔Richie. ''The Japanese Eroduction''. p.163.〕 Richie is making a distinction between the erotic films of the major studios such as Nikkatsu and Toei as against the low-budget pink films produced by independents such as OP Eiga. 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." Richie and Harritz enumerate the fundamental elements of the pink film formula as: # The film must have a required minimum quota of sex scenes〔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."〕 # The film must be approximately one hour in duration〔Domenig. ''Vital Flesh''. "Pink eiga... typically 60 minutes long..."〕 # It must be filmed on 16 mm or 35 mm film within one week〔Richie. ''The Japanese Eroduction'' p.157. "The shooting-time for each remains short—a week at the most..."〕 # The film must be made on a very limited budget〔Harritz. Writing in 2006, Pia Harritz gives the required budget as about $35,000.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Pink film」の詳細全文を読む スポンサード リンク
|