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Japanese film notesEdit

article on X From Outer Space & Kaiju in General Edit

Source:

A Child's View of Monsters

The feature page of the Asahi Shimbun on the morning of May 15, 1967, carried this headline:

"It's Gilala the Monster!"
Prince Hiro Exclaims
In Department Store

The seven-year-old Prince, grandson of the Emperor, had been allowed, as a rare treat, to visit a department storoe for the first time. Like all boys, he headed for the toy section. And like most Japanese youngsters today, he chose as purchases a toy robot and a picture-book of "monsters." These "monsters" are the creations of the movie-makers and television producers; they strut across the screens like lords of creation rending and wrecking everything in their way. There are some 120 of them so far, and their bizarre tribe seems likely to increase in number and variety to the delight of children and the dismay of parents.

As promotion for their programmes actors in the monster costumes make public appearances strolling along the streets, and in department stores and amusement parks. Some of them have shown up in May Day parades, or taken up stations in front of bookstores where the comic-book versions of their adventures are sold. Their images help sell school notebooks, shoes, chocolates, chewing-gum and other merchandise.

Toy counters arc full of monsters in miniature. Two thousand plastic models of one particular monster have been sold. The Monster Pictorial magazine with photographs of the bizarre creatures sells about 100,000 copies an issue. A popular boys' maagazine soared to more than a million circulation after it began featuring the weird beasts. The Big Picture Book of Monsters, which includes sound sheets that can be played on a phonograph to reproduce monster bellowings, sold more than 190,000 copies.

Kindergarten children, told to model anything they like in clay, more often than not compete with each other in trying to reproduce their favourite monster. When pupils of Tokyo's Taimei Primary School were asked, "How many movie and television monsters are there?"' they answered in unhesitating chorus, "About 120 or 130." One pupil rattled off the names of 50 monsters and seemed capable of identifying the whole lot before being interrupted by his teacher. The boom in monsters got under way in late 1965 with the network televising of the movies Ultra Q, Ultraman, Ambassador Magma, and the like. Children's magazines were quick to follow up on the new "fan interest," and other mass-communications media began writing of the life and times of the monstrous folk-heroes.

The monster invasion was given particular impetus by the inventiveness of the Tsuburaya Special Effects Production Company, which introduces at least one new monster in each instalment of its serialized 30-minute television programme. Ultraman surged into the lead in audience ratings with an estimated 6,160,000 viewers in January, 1967. Ultraman still had 40.7 per cent of the total viewing audience in tile ratings for tile week of February 20-26, 1967, although Ohana-han (a serialized story of a Meiji-Era wife) had taken over top place in viewers' affections. Ambassador Magma had held 15th place in over-all ratings with 28.4 per cent of the viewers. Booska the Monster scored 25 her cent.

Monsters virtually monopolize children's conversations, and parents are worried about the influence of such "heroes" on the youngsters. Letters to newspapers express such perplexities as, "Our children are crazy about Ultraman and want only toys modelled after the monsters they see on the television programme. Does this sort of thing have a had effect on children's psychology? Should we buy such toys for them?"

Specialists in child psychology offer divided opinions. some say: "This adulation of larger-than-life creatures with stupendous powers recalls the excitement that King Kong evoked in the previous generation. It should not be taken seriously." Others take a more pessimistic view and warn: "Grotesque monsters are lionized because the mass-communications media are feeding children more and more sensational nonsense in order to attract their patronage. If this sort of thing goes on, the sense of discrimination between the ugly and the beautiful in the younger generation will be destroyed." Then there is the practical school of thought which argues: "Instead of taking a negative attitude towards the monster fad among young people, let us capitalize on their aroused interest to divert it, for example, to enthusiasm for acquiring knowledge of science."

In the final analysis, it will be the producers of the monster epics who will be the deciding factor. Many of them are investing heavily in productions where gigantic and inhuman monsters smash all before them, apparently because they believe children are interested only in destruction. One movie company executive has said that he aims his monster films at an audience of the junior-high-school level and below. Should movies he made for children which adults cannot bring themselves to watch?

Let's listen in to the views of the Taimei Primary School pupils:

A boy: "I've watched almost all the television programmes featuring monsters."

A girl: "I've seen most of the monster movies. My grandmother takes me.

A boy: "I like strong creatures that don't care if sometimes they are cowardly."

A girl: "I like the Mothras because they have a nice shape."

A boy: "Godzilla is good, too. He's strong and does a lot of interesting things."

A girl: "There are some things I don't understand about monster films. When a monster runs wild, the Defence Force is called out to attack him, but the soldiers are knocked aside right and left. Finally, Ultraman arrives on the scene. Since the troops have a terrible time when they try to stop the monster, wily doesn't Ultraman come and control the mousier right away?"

A boy: "The way Ultraman acts is fanny, too, isn't it? First, he grapples with the monster and is thrown. Finally, he uses his paralyzing ray to drive back the beast. Why can't he use the paralyzing ray from the start?"

A boy" "I don't think there are such monsters anywhere in the world. They are all imaginary creatures."

A girl: "But somewhere in this vast universe, I think there are living creatures that have different shapes and greater powers than human beings or animals on earth."

A boy: "I don't like Gyaos. He eats people."

Children have a direct view of their world which is refreshing. They are not deceived by appearances even if the "phoney" images arc made for them by adults. To worry about children's imaginations being overstimulated is perhaps to borrow care for tomorrow on the part of adults whose dreams and sense of wonder have become impoverished.

Akira Ifukube Edit

Voice of Gojira: Remembering Akira Ifukube By Randall D. Larson http://www.musicfromthemovies.com/feature.asp?ID=52

Fumio Hayasaka Edit

http://www.filmreference.com/Writers-and-Production-Artists-Ha-Ja/Hayasaka-Fumio.html

Hiroshi Miyagawa Edit

http://www.cdjapan.co.jp/collectors_den/2006-04.html

宮川泰

References to check Edit

Imamura Edit

http://film.guardian.co.uk/news/story/0,,1787242,00.html

http://www.telegraph.co.uk/news/main.jhtml?view=DETAILS&grid=&xml=/news/2006/06/02/db0201.xml

US film notesEdit

The Garage (Arbuckle) Edit

Fatty Arbuckle and Buster Keaton and the pup are the three principal characters in the current comedy. there are really about a dozen good belly laughs in the picture. The tricks of a garage with a whirling turntable, the "Human Roulette Wheel" idea being used, and a breakaway Ford are the funniest touches in the picture. The idea of a customer walking and throwing down a half-dollar, asking for a Ford, getting 20 cents change and a car, is a bit that is sure to get a scream. Another funny bit is a handling of the grease, with the "dude" character getting his at the hands of the comedians. In all it is a fast moving comedy that will be liked.

-- Fred.

-- Variety, January 16, 1920

Curses! (1925) Al St. John, Arbuckle directed as 'William Goodrich'Edit

http://www.imdb.com/title/tt0372837/

A satire of the serials popular a decade before in five chapters, with internal cliff-hangers between chapters, and stereotypically melodramatic intertitles.

Plot Edit

'Buttonshoe Bill' (Al St. John) a man with two left feet pursuing Nell and her father. He 'beans' Nell's father withi Nell's flapjacks and absconds with the papers he's owned since his days as a paperboy. The hero, Rodney Hemingway, arrives (a little too late, because he's combing his hair while running) to save the day. Bill ties Nell to a sawmill When Bill ties Rodney to a tree with a boulder rolling towards him, the cliff-hanger intertitle announces "What a buster!"-- a nod to the famous falling boulder scene in Keaton's Seven Chances which had been released 2 months earlier.

NYTimes The General Review Edit

In spite of his bursts of speed and flashes of ingenuity, Johnnie Gray, the hero of "The General," the new picture at the Capitol, is hardly the person who would be trusted with a locomotive. This role is played by Buster Keaton, who appears to have bitten off more than he can chew in this farcical affair concerned with the days of the Civil War. Mr. keaton still preserves his inscrutable expression; he looks like a clergyman and acts like a vaudeville tumbler. The production itself is singularly well mounted, but the fun is not exactly plentiful. Sometimes laughter yesterday afternoon was stirred up by slapstick ideas, and at other junctures the mere stupidity of the principal character had the desired effect. During a few chapters in the beginning there was more or less interest in this feature. it happens when the pre-occupied Johnny Gray is driving his dear old locomotive, known as the General, through the Northern lines. He is chased by other locomotives equally speedy and graceful. The other love of Gray's life, Annabelle Lee (not a locomotive but an attractive girl) spends part of her time putting anything from toothpicks to great logs into the locomotive fire. Together, hero and heroine thrown out timber and crates to hinder their pursuers. One wonders that the man who has sense enough to defeat his enemies is so utterly brainless when he throws wood on the tender. This is by no means so good as Mr. Keaton's previous efforts. Here he is more the acrobat than the clown, and his vehicle might be described as a mixture of cast iron and jelly. -- by Mordaunt Hall, February 8, 1927.

NYTimes review: The Red Mill dir. by Arbuckle Edit

Scenically, "The Red Mill" is frequently very interesting, with its reproductions of a small Dutch community wherein one perceives a nice, comfortable old inn, a canal and the inevitable windmill. The story, however, which is based on that of the musical comedy by Victor Herbert and Henry Blossom, limps along, relying sometimes on strained puns in the subtitles to carry it over the dikes and ditches. The humor is far from subtle, but nevertheless a charitably inclines audience in the Capitol Theatre yesterday afternoon was occasionally moved to mirth, either by the actions of a white mouse or by the happenings in the so-called haunted mill.

Marion Davies and others in the cast do their best to imbue their respective characters with individuality, which is a pretty thankless task. This chronicle is a Cinderlla yarn and Miss Davies appears as a Dutch drudge in the nice, old inn. She has been willing to appear before the camera with a freckled face and without any hair protruding under her cap. In fact, she tries to make herself look plain so that when she appears in a subsequent sequence, the contrast is pleasing. She is active, good-natured and willing to fall throught he ice, to tumble down a well and to be soundly thrashed by Willem, the proprietor of the nice, old inn.

Ice is actually the feature of this film. It is in a scene of a Dutch canal, wherein men and women in Dutch costumes are beheld gliding over the frozen water on old-fashioned skates, some having merely steel blades, attached to their wooden sabots. This scene is excellent, and it is followed by a glimpse of Spring withi boats and barges and the billowing skirts of the much-petticoated and not infrequently plump females.

This background deserves a better story, and so does Miss Davies. It is all very well to have a mouse appear out of a hole in Miss Davies's sabot, but that and other comedy touches drag the narrative down to something dangerously near to slapstick. Flowerpots are hurled across yards, and the haunted mill has all its queer noises at work as soon as Tina (Miss Davies) is locked in there by the proprietor of the nice, old inn.

It chances in this story that the Prince is played by Owen Moore. He figures as Dennis, an American, who at first scorns to give Tina a kiss, but as soon as he discovers how delightfully pretty she is he spends a good many chapters of the story trying to make amends. Tina is a resourceful girl. She proves it in a skating race in which she does not appear to have the foggiest chance. It happens that a dog chases the white mouse and Tina catches hold of the dog and is pulled along at a fine clip. Incidentally, the white mouse serves to cause a panic in a church and to disturb Willem by getting into the bowl of his capacious pipe in the nice, old inn.

Major Edward Bowes has arranged an attractive prologue to the feature. Major Bowes is also responsible for making a horse talk (in subtitles) like William S. Hart in a short film called "The Tale of a Horse." This is not a particularly illuminating piece of work and the horse frequently seems to be camouflaged.

-- Mordaunt Hall -- Feb 14, 1927

TV series infobox Edit

Template:Infobox Television

Jitterbugs DVD booklet Edit

This film features the humorous adventures and misadventures of a two man jitterbug band. Made in America during World War II, the film deals with none of the era's serious problems, but sticks to the lighthearted humor that deservedly earned Stan Laurel and Oliver Hardy worldwide popularity.

Malcolm St. Clair, who would helm a number of the comic pair's films, handled the directing chores for Sol M. Wurtzel in his 1943's production of Jitterbugs. St. Clair came to films after years of cartooning for newspapers, as well as acting. He endeared himself to Laurel and Hardy by discussing each scene with them after it was shot, and he often did retakes with suggestions to further draw out the pair's unfailing instincts for milking every laugh out of a situation.

Producer Sol M. Wurtzel's film included three tunes sung by newcomer Vivian Blaine in her first starring role. The songs, written for the film by Lew Pollack and Charles Newman included the, film's theme song, "The Moon Kissed the Mississippi," and a boogie-woogie called "I've Gotta See for Myself" and the bluesy "If the Shoe Fits You, Wear It!" Pollack wrote the music for such songs as "Diane," "Charmaine," "Angela Mia," "Two Cigarettes in the Dark," "You Do the Darndest Things" and the title song for the Fox film One in a Million. Newman was the lyricist for "I Met Her on Monday," "Six Lessons from Madame LaZonga," "Why Don't We Do This More Often" the title song for Sweethearts on Parade. He would also go on to write the lyrics for both Little Miss Broadway, and Easy to Look At

Although 50 jitterbugging couples were initially sought for a production number in the film, the studio had to settle for only 30 because of a wartime issue - "Shoes, mostly," St. Clair said. Shoe rationing hit all actors hard, particularly dancers. (Like everyone else, ice skater Sonja Henie, under contract to Fox at the time, was limited to three pairs of shoes per year, including her skate boots. This was a real hardship, since she performed up to five production numbers in a film per year, then spent nine months on the road with her professional ice, show.) Also, many dancers had either joined the armed services or were working in war plants The ones who stayed would rehearse barefoot to save their shoe leather. The studio objected, but moved rehearsals from bare wooden floors to the soft grass outside to save footwear., The studio had hired 150 jitterbugging teams for its film Orchestra Wives in 1942, but as the war continued, rationing became a problem, as did the shortage of male dancers.

The complex plot of Jitterbugs begins with Laurel and Hardy's Ford roadster stranded in the desert, out of gas. A likeable con man, Chester Wright (Bob Bailey), comes to their rescue with a "miracle" pill that supposedly turns water into gasoline. He convinces the duo to hawk the phony pills at a carnival, where they also manage to draw crowds with their two-man Zoot Suit Band. However, the crowds turn angry when it becomes obvious that the pills are just a scam.

Meanwhile, Chester has met the entrancing songstress Susan Cowan (Vivian Blaine), and he wants to help her retrieve $10,000 that her mother lost in a phony land deal. Not only does Chester know the swindlers, but he understands how to work a con, and he convinces Laurel and Hardy to help track down and expose the crooks. So, they all head for New Orleans and, as soon as they locate the crooks there, Hardy poses as a Texas millionaire and becomes the target of an intended shakedown for hush money after a seductive woman (Lee Patrick) makes a play for the ersatz rich man. Ultimately, Susan, Chester, Laurel and Hardy discover the $10,000 swindled from Susan's mother has been split between two of the thugs, and the tables are turned on the crooks amid much hilarity when Laurel dresses up in drag as Susan's proper Bostonian aunt, and the four work numberous angles to retrieve the money.

The Zoot Suit was an oversized flamboyant outfit popular with young men. Although initally banned by the government as violating the spirit and purposes of wartime conservation, eventually the Zoot Suit was declared a "costume" and, as such, could now be kept indefinitely by Fox's, studio wardrobe director in their wardrobe departments, alongside Roman togas and costumes for medieval knights.

This film is generally regarded as the best picture Laurel and Hardy made after their glory years with Hal Roach. Following this production, Vivian Blaine went on to become best known as "Miss Adelaide" in the Broadway musical and film Guys and Dolls, and she would enjoy a long and thriving Broadway career.

SYLVIA STODDARD Noted film historian and television writer Sylvia Stoddard has published books and articles on classic TV shows, film and musical theatre. She also provides audio commentary for DVDs

The Big Noise DVD booklet Edit

Stan Laurel and Oliver Hardy had each been a successful silent film comic in his own right before they joined forces in 1926. Each had a personal style quite different from the idiosyncrasies that would develop in their partnership. Both had been on the Hal Roach lot for some time, appearing solo and in one- and two-reelers with other stars. The team made a fairly smooth transition to talking pictures and continued their partnership with Roach until 1940, when they were considered more a liability than an asset. Roach had moved into bigger and better pictures and, with second-rate directors, the Laurel and Hardy feature films were sliding into "B" movie territory. Saps at Sea was their last film for Hal Roach.

Studio publicist Harry Brand cited The Big Noise as the 177th film Oliver Hardy and Stan Laurel made together. This time, the men play private detectives hired by the eccentric inventor of a high-powered bomb. A house of the future and a host of crazy inventions complicate the plot. Malcom St. Clair, who also helmed the pair's two previous comedies for Twentieth Century Fox-- The Dancing Masters,and Jitterbugs-- directed this wacky film, featuring Doris Merrick, Arthur Space, Bobby (a young Robert) Blake, Robert Dudley, Esther Howard, Phil Van Zandt and James Bush. After a career that spanned decades with Twentieth Century Fox, producer Sol M. Wurtzel selected this comedy as his final picture with the studio.

One general trend distinguishes this picture from the previous slapstick comedies that were Laurel and Hardy's trademark in their long and successful association. It had been their routine to engage in outrageous antics. But, throughout World War II, the comics accepted the public's wartime resentment of waste and destruction by swearing off pie throwing, clothes ripping and furniture breaking. Studio publicists estimated that the team had previously destroyed some 2,438 suits and 5,672 derby hats between them. During the filming of The Big Noise, they adopted a new soft felt derby, instead of the previous harder models, and drew up a trio of restrictive measures to decrease wear: "Destructive" scenes reduced to a minimum; those left in for the sake of story content had to be filmed in one take, so that no more than one set of wardrobe or props was destroyed; and the boys threw no lemon meringue pies. But in an hommage to their pie shtick, in one scene, they sit down to dinner in the in ventor's home and find a completely dehydrated meal in pill form-- a yellow tablet.

One of the primary gags in the picture, and certainly the most complicated one, is the introduction of the "House of Tomorrow" as a completely mechanized home. Nine prop men, headed by Ed Jones, were required to operate the set, which featured revolving walls and floors, and vanishing beds, chairs and tables. Jones estimated that The Big Noise required at least 40 wacky inventions. His imagination, at Laurel and Hardy's suggestion, produced an automatic paint remover, a motorized wheelchair, a robot wall-paperer, a weight-propelled roller skate and a cigar box from which a live duck emerged with lighted stogies. Every member of the crew was encouraged to add his suggestions to the fun, and although Stan and Ollie are credited with most of the gags, at least 14 were devised by technicians and cast members, and two of the gags by Wurtzel himself.

To interrupt the monotony of classic blue and gray suits and derbies, The Big Noise offered big changes for the duo: They appear as janitors, parachutists and Boy Scouts!

Another development in this film was especially appreciated by the comics-- the increased empathy of the actor's problems shown them by their director, Mal St. Clair, since he himself was a former actor.

The Big Noise marked the film debut of the double-talk nonsense song "Mairzy Doats," which was popular on the radio. Numerous actors on the lot who had been longtime fans of Laurel and Hardy would frequently visit the set to watch the pair in action. Dick Haymes, Phil Baker and many others were visitors.

Great Guns DVD booklet Edit

After an 18-month hiatus in their long and remarkable careers, Stan Laurel and Oliver Hardy returned to the screen in producer Sol M. Wurtzel's film Great Guns. The goal of the film was to put the duo in a completely new type of entertainment. Before moving to Twentieth Century Fox, they had worked out material as they went along. The new approach was to write a script incorporating the gags, and Wurtzel, hired writer Lou Breslow to create a screenplay tailored to this approach. Some material was still ad-libbed on the set, however, and director Monty Banks chose which spontaneous material to use. But the cameras were always rolling whenever the comics were on the set, because some of their improvisations were so outrageous that they couldn't be repeated with the same flair.

Twentieth Century Fox felt that the public's sense of humor had changed in the several years leading up to this film-- circus clowns and Keystone Kops had disappeared from the screen. Current comedians, including Jack Benny, Abbott and Costello and Bob Hope, were all "normal" in appearance. Laurel and Hardy had always enjoyed a fantastic foreign following, probably because their physical comedy and overblown expressions crossed any language barriers. But in wartime, the European film market was shut down and domestic tastes had to be addressed.

Laurel and Hardy's gestures were toned down, and an effort was made to modify their appearance to make them appear more "normal." They would still be an oddly eccentric pair, but they would seem more likely to really exist. Stan Laurel's usual white clown makeup was made more naturalistic. Instead of Oliver Hardy's clothes being 10 sizes too small and Stan Laurel's being disproportionately large, the margin of misfit was dropped about five sizes. The Fox wardrobe director's people were surprised, in fact, that the sizes of the duo's garments actually differed by less than half a yard.

The pair was popular on the Fox lot for their hard work, willingness to do all their own stunts and consideration of others. Hardy reportedly sustained an injury to his back while driving an Army Jeep through a ditch, but the next day he did an especially exhausting physical routine. Laurel worked without complaint with a raven who often clawed his neck, drawing blood. The bird is called "Penelope" in the film, but was really a male named "Jim". Stan and Ollie tried to purchase "Jim", but the bird's owner, Curley Twiford, claimed that the raven was worth $7,000 and was insured. The use of the bird inspired a suggestion that the military use ravens instead of pigeons, since no one would supect a raven of carrying a message.

The comedians also took Bob Hoffman, who played a soldier, under their wings. They felt that the former All-American halfback from the University of Southern California would make a good comic "heavy." Stan enjoyed a reunion in this film with actress Ethel Griffies, who plays Aunt Agatha. Griffies knew him as a boy back in England when she was a leading lady in the repertory company, which toured the country at the turn of the century,and was run by Stan Laurel's parents.

Television was in its infancy when Great Guns was made, and although Laurel and Hardy both wanted to work in the new medium, they decided to try radio first and were negotiating with a large advertising agency for sponsorship while making this film. Normally, their kind of pantomime comedy wouldn't be suitable for radio, but again wartime intervened. The National Defense Program knocked out any hope of television for the time being, and the pair decided to adjust their work to make it more verbal.

When asked where they got their material, Laurel and Hardy always replied that it came from watching people around them. An odd gesture someone might make could find its way into their movies. Laurel took his signature crying face from a bad actor trying to register sorrow in a film he had been in many years before. When Hardy twisted his wrist to look at his watch, spilling a glass of tomato juice down his shirt, he was repeating an incident he'd once witnessed.

After a long series of business misadventures, and having lost thousands of dollars on bad investments, Laurel and Hardy finally formed a corporation. Their attorney was the treasurer and had to sign the checks they wrote and approve all their contracts.

The team was anxious to emphasize to the studio publicist that during their 17 years of partnership and 169 films together, they'd never had a quarrel. This was in answer to rumors several years prior that they had fought and broken up the team. They claimed that this was a false rumor perpetrated by a producer who was determined to lower their salary demands. The man evidently tried to play one against the other, but to no avail.

Articles needed Edit

Korean film notesEdit

Cinema of KoreaEdit

http://www.google.com/search?hl=en&q=Yodo+Orajo&btnG=Google+Search

http://www.koreanfilm.or.kr/attach/tbbbsd020%5Cadmin_2005112145230_1.pdf

Article does not mention Shin Sang-ok

Viva Freedom! (자유만세) Edit

needs work.

Robot Taekwon V Edit

http://koreanfilm.org/dc/dcboard.php?az=show_topic&forum=108&topic_id=4&mesg_id=4&page=

http://www.twitchfilm.net/archives/003979.html

Ureme 9 Edit

http://kr.movies.yahoo.com/Movie/MovieInfo/movie_view.php?movie_id=14697

Info on 꽃파는 처녀 Edit

http://nk.chosun.com/culture/culture.html?ACT=movie07-04

Choe Ik-kyu Edit

Choe Ik-kyu-- Director of The Flower Girl (Kkotpaneun Cheonyeo) = North Korean Minister of Culture?

http://english.yna.co.kr/Engnews/20051215/630000000020051215110759E2.html

North Korea appoints Kim Jin-sung as minister of culture SEOUL (Yonhap) -- Kim Jin-sung has been appointed as North Korea's minister of culture, replacing Choe Ik-gyu.

The appointment was confirmed in a program of Radio Pyongyang. The broadcasting station said on Dec. 9 that Minister of Culture Kim Jin-sung took part in a concert performed by a Russian national academic choir at the Pongwha Art Theater in downtown Pyongyang.

Previous culture minister Choe made his last appearance in the post at a concert to honor the 10th anniversary of the death of composer Yun I-sang held in Pyongyang on Oct. 26.

NK Cinema Edit

http://www.culturenews.net/read.asp?title_up_code=605&title_down_code=002&article_num=3829&page=1

http://preview.britannica.co.kr/spotlights/nkorea/arts/b19j2495a.html

http://100.empas.com/dicsearch/pentry.html?i=186005


Oldest extant Korean film Edit

http://times.hankooki.com/lpage/culture/200602/kt2006022816365611690.htm

Im Kwon-Taek, Yu Hyun-Mok & Shin Sang-OkEdit

http://www.cinematheque.bc.ca/archives/korea.html

Yu Hyun-Mok Edit

http://www.nkino.com/People/People.asp?id=2947

The 5th Annual Far East Film Festival Edit

http://www.thefilmjournal.com/issue6/fareast.html

Killer Butterfly & Korean film index Edit

http://www.asianfilms.org/korea/kky/KKY/Cabinet/KiilerButt-f24.htm

http://www.twitchfilm.net/archives/003507.html

Godzilla entry in Encyclopedia of Contemporary Japanese CultureEdit

entry for "Godzilla" in Encyclopedia of Contemporary Japanese Culture Sandra Buckley, editor. 2002. Routledge, London.


Godzilla (Gojira) is one of the few instances in Japanese popular culture where the phenomenon is of a similar order of magnitude in Japan and abroad. As a 400-foot tall, grey-green monster icon, as an eponymous movie series and as a progenitor of its own genre of horror film, Godzilla exists in the international pop-consciousness as a permanent legacy.

Honda Inoshiro's original Gojira (Toho, 1954), filmed in black and white with a special effects team that cut its teeth on battle scene in wartime movies, is a grim, sombre story of an enormouse prehistoric monster who wreaks havoc on Tokyo after being disturbed in the depths of the Pacific by hydrogen bomb testing, Godzilla, King of the Monsters, distributed in 1956, takes extraordinary liberties with the original: dubbing sporadically, leaving stretches of dialogue untranslated and interpolating scenes of a US 'witness who learnt'. And yet it retains the austere power of the monster's foray undiminished, and, with the inspired transliteration of the title, the US version achieves its own absurdity. Its unprecedented success at the box-office in the USA launched the series as an international money-maker for Toho studios.

The series comprises twenty-four films to date, and may be usefully divided into early, middle and late-nationalist periods. The early honda films (1954-61) feature a single protagonist-monster and layer a conflict between science and nature over geo-political concerns with nuclear war and environmental destruction. Tense, engaged and punctuated in their treatment of extremely massive objects by moments of great visual poetry, these early Honda films contain virtually all that is cinematically and philosophically interesting in the series. Kingkong tai Gojira (King Kong vs. Godzilla, 1962) ushers in a middle period characterised by twin protagonists or tag-teams of protagonists, displacement of the austere dialectic of science and nature by a pro-wrestling aesthetic and concomitant introduction of an increasingly farcical stable of monsters. Honda loses his stamp on the series during this period of assembly-line production, and films which had transfixed early post-war audiences with their devastated cityscapes and figuration of nuclear catastrophe degenerate here into child's fare. This defusing at the level of production of the political unconscious that structures the early films is mirrored at the critical level in the USA, where an initial incomprehension gives way to a strategy of camp celebration in reviews by 1962. The launch of the Gamera series during this period by the rival Daiei gave shape to the kaiju eiga genre, though Gamera never achieved the iconic status of Toho's Godzilla.

Exhausted by 1975, the series endures a ten-year dry spell until Godzilla (1985), which handily resolves the central contradiction of the Godzilla myth, of why a monster generated from US hydrogen bomb testing returns again and again to wreak havoc in Tokyo, by superimposing the threats of Godzilla with an errant soviet missile. The 1998 Hollywood remake brackets the late-nationalist period with an interesting twist in that this figuration of nuclear horror finally comes to roost in Manhattan, the site that lent its name to the project that stirred Godzilla from his slumbers to begin with. One has to return to the original Honda films, though, to catch a glimpse of the interplay between the dark, sublime beauty of massive objects, kinaesthetic pleasure in urban apocalypse and raw outcropping of political unconscious that has seared this icon into our collective national psyches.

Select filmography

  • Godzilla (1985).
  • Gojira tai Mekagojira (1974).
  • Kaiju daisenso (Monster Zero) (1965).
  • Mosura (Mothra) 1961).
  • Rodan (1956).
  • Gojira no gyakushu (Revenge of Godzilla) (1955).
  • Gojira (1954).


JOSEPH MURPHY

NotesEdit

http://www.electricsheepmagazine.co.uk/features/2009/12/01/interview-with-sachi-hamano/

http://www.electricsheepmagazine.co.uk/features/2009/11/01/kakera-interview-with-momoko-ando/

NikkatsuEdit

Homepage: http://www.nikkatsu.com/

http://www.nikkatsu.com/en/index.html "About us"

NIKKATSU 日活データベース

詳細メインメニュー 映画 VIDEO・DVD ショップ テレビ 劇場 プレゼント 新着ニュース サブメニュー 日活レポート メールマガジン モバイル フィルムレンタル 学院 撮影所 About usEnglish Menu About us Distribution Production Library contact us Corporate OverviewCompany Name Nikkatsu Corporation Headquarters 3-28-12 Hongo, Bunkyo-ku, Tokyo 113-0033, Japan Foundation September 10, 1912 Capital Stock 3.5 billion Yen (as of July 31, 2009) Executives President&CEO:  Naoki Sato Business Overview

Movie Operation Plan, develop and produce movies for theatrical, broadcasting and video sales/rental distribution. Acquire or provide licensing of movies for theatrical, broadcasting and video sales/rental distribution. Plan, develop and produce contents for internet and mobiles. Main release in past:"BUENA VISTA SOCIAL CLUB"(directed by Wim Wenders) "HOLLYWOOD ENDING"(directed by Woody Allen) "ANYTHING ELSE" (directed by Woody Allen) "Welcome to Dongmakgol"(directed by Park Kwang-hyun) "EASTERN PROMISES"(directed by David Cronenberg) "CHE"(directed by Steven Soderbergh) "THE WRESTLER"(directed by Darren Aronofsky) "YATTERMAN"(directed by Takashi Miike) ・・・and more.

Studio Operation Sub-contract production of movies, broadcasting programs, commercials, etc Lease the facilities such as studios and studio recording equipment. There are 8 stages in the studio.

Theater Operation Operate 5 movie theaters (consisting of 19 screens in total) in Japan

School Operation Operate training school for those who wish to work in movie industry Operate agency of talents/entertainers and video engineers/technicians.

Satellite Media Operation Operate satellite or cable TV broadcasting channels (Channel NECO, Rainbow Channel and CINEMA-R) as well as produce and provide the entire contents required for such channels

Package Media Operation Manufacture and supply video devices for sales or rental distribution market Main release in past: ”MALENA”(directed by Giuseppe Tornatore)”Monster Boll”(directed by Marc Forster)”Talk to Her”(directed by Pedro Almodovar)”Time to Leave”(directed by Francois Ozon)”Kings and Queen”’(directed by Arunaud Desplechin)”History of Violence”(directed by David Cronenberg)”Lord of War”(directed by Andrew Niccol)”The Down Fall”(directed by Oliver Hirschbiegel)


History Overview September 1912 Four movie companies were consolidated to establish Nikkatsu Corporation for production, distribution and promotion of movies. June 1954 Nikkatsu Movie Studio (the largest those days in Asia) was completed in Chofu-shi, Tokyo August 1989 Opened the broadcasting station for communication satellite business in the Studio to enter the communication market. March 1990 Started broadcasting for NECO (CATV stations) and Rainbow Channel (hotel CCTV) from the communication satellite station. March 1998 Digital studio facilities were built in the Chofu Studio. September 2002 Celebrated 90th anniversary.

会社案内メニュー 会社案内 ニュースリリース マスコミの方へ リンク お問合わせ プライバシー ご利用規約 サイトマップ English Copyright © 2007 NIKKATSU Corporation. All rights reserved.ページトップへ

http://www.nikkatsu.com/en/library.html "Library The Library of Nikkatsu" NIKKATSU 日活データベース

詳細メインメニュー 映画 VIDEO・DVD ショップ テレビ 劇場 プレゼント 新着ニュース サブメニュー 日活レポート メールマガジン モバイル フィルムレンタル 学院 撮影所 LibraryEnglish Menu About us Distribution Production Library The Library of Nikkatsu

The Japanese Great Film Directors Nikkatsu Corporation is the first film company established in Japan, and has thrown up many of the great world-class directors. The company still possesses many of the best titles produced by them. Seijun SUZUKI His unique sense of color-usage and ironic sense of humor was highly acclaimed from all over the world. Shohei IMAMURA His works have an established reputation for their humorous featuring of man's lust. Kon ICHIKAWA One of Japan's star directors whose masterpieces are characteristic of its lusciously beautiful images and spontaneous scripts.

Back in the 1970s, urged by the stagnancy the Japanese film industry was suffering from, many of the best film-making staffs in Japan gathered together to create the erotic film series that deeply featured “sexuality”, which had been considered as taboo up until then, the Nikkatsu Roman (Romantic) Porn series. A geisha with a ruined atmosphere who pours her body and soul into a certain man, a virtuous wife who all of a sudden gets indulged with the abnormal joy of bondages one day, a female teacher who is raped by her students finding out the thrilling pleasure of sexual acts…. The only common theme among the Nikkatsu Roman Porn series was “to have sexual scenes as the main feature of the story”, and the directors were allowed to freely extend their imagination and creativity which resulted to a wide variety of film style, producing as much as more than 1100 titles. Nikkatsu Roman Porn series created a sensation among the Japanese film industry with its superb script, camera works, and its art direction together with its realistic sexual scenes, attracting many old and young fans of both sex as films with a certain “artistry” which couldn’t have been defined within the range of the conventional porn films at the time. Having encouraged the directors to produce films with their free and bold ideas, the Roman Porn series had thrown up many of the best film directors in Japan such as Tatsumi Kumashiro, Masaru Konuma, Noboru Tanaka, Chusei Sone, Toshiya Fujita, and Shusuke Kaneko.

The ever-cool “Old Style” In the 1950s, when Japan had a shadow cast on the entire nation from the lost war, Nikkatsu Corporation started producing energetic, adventurous action films based on its slogan of “we produce fun films”, and created a boom of hardboiled films. An outlaw detective chasing after a criminal, a ruthless killer, and a maverick Japanese mafia who lives in the world of their own rules and righteousness…. Various action heroes had made spectacular performances with a gun in his hand with their characteristic cool atmosphere about them, sometimes with a glimpse of their comically humorous side. The action film series produced at Nikkatsu were called as to be “films with no nationality”, with aspects somewhat similar to western cowboy films and Hong Kong action films, whose stories were fully entertaining with their clear, witty, and exhilarating scripts. Nikkatsu Corporation produced more than 1,000 titles of action films during an 18-year period, captivating many enthusiastic fans for their characteristic heroes and animated action scenes, establishing a brand called “Nikkatsu Actions”. Their classical yet stylish film images are still attracting the modern generation, and are being so highly acclaimed that the films are being released, and merchandizes such as T-shirts and remake films are being produced. 会社案内メニュー 会社案内 ニュースリリース マスコミの方へ リンク お問合わせ プライバシー ご利用規約 サイトマップ English Copyright © 2007 NIKKATSU Corporation. All rights reserved.ページトップへ


http://www.animenewsnetwork.com/encyclopedia/company.php?id=4921 Nikkatsu Corporation

Foundation date: 1912-09-10 Official website: About us|NIKKATSU 日活 (Japanese) Mailing address: 3-28-12 Hongo, Bunkyo-ku, Tokyo 113-0033, Japan About: Japan's oldest movie studio and theater operator, Nikkatsu once operated 70% of all movie theaters in Japan. The company struggled after world war 2 and was reduced to producing soft-core pornography in the 1970s. In 1993 Nikkatsu filed for bankruptcy and was rescued by Namco, which injected 3 billion yen (US$28 million) into the company. In 1997 Nikkatsu became a subsidiary of Namco.


http://www.tokyoreporter.com/2010/03/28/its-a-return-nikkatsu-resurrects-roman-porno/

It’s a return!’ — Nikkatsu resurrects ‘roman porno’ March 28, 2010 TOKYO (TR) – The promotional flyer says it all: “This is not a remake — it’s a return!”

Four decades ago, struggling studio Nikkatsu shifted its focus from action and gangster films to a form of soft pornography termed “roman porno” (an amalgamation of romance and pornography), a breakthrough genre for a major studio that was characterized by relatively substantial storylines blended with copious nude scenes.

“Danchizuma: Hirusagari no Joji” (Apartment Wife: Afternoon Affair), released in 1971, detailed the erotic extramarital activities of a married woman residing in one of Japan’s infamously bland suburban block-housing units.

“At that time society regarded it as a dirty film,” said the female lead, Kazuko Shirakawa, 62, at a speaking engagement at theater Eurospace in Tokyo’s Shibuya district in February. “It was not ordinary for a woman to be seen naked. The overall content was a bit shocking.”

Yet the general public applauded and the studio had a hit on its hands, with Shirakawa on her way to reaching certifiable “queen” status. “Apartment Wife” went on to generate 20 sequels, and by the end of the genre’s run 17 years later roman porno features numbered 1,133.

Nikkatsu, Japan’s longest-running studio, is now making a comeback with totally new takes on roman porno classics under the moniker “Roman Porno Returns” — a revitalization of this cultural icon that launched the careers of numerous members within the conventional film industry.

The reworked versions of both “Apartment Wife: Afternoon Affair” and “Ushiro kara Mae kara” (From the Back, From the Front), the original of which dates to 1980, screened for two weeks at Eurospace this month and in February. The pair is now playing in Sapporo and will move to Osaka and Fukuoka next month. Satellite provider Sky PerfecTV! currently offers “From the Back, From the Front” on a pay-per-view basis.

“At first I was shocked about the revival because these films represented my youth,” said Shirakawa. “But after realizing that one of the original directors was involved I had total confidence. I really like the revival version, even though on the surface it seems like nothing special. After watching it I felt a special melancholy and passion.”

That director is 58-year-old Shun Nakahara, who helmed the 75-minute reincarnation of “Apartment Wife,” the story of Sayaka (Sakiko Takao), a lonely housewife, and her encounters with a water-purifier salesman (Masaki Miura).

Shirakawa, who appears in a cameo role, feels that the revival gently conveys the simple life of this plain housewife, a woman who “has something inside her uterus that is screaming to get out.”

“The director beautifully describes this feeling welling inside her through symbolism,” she said, “such as with the scenes showing running tap water and boiling pasta noodles.”

Nikkatsu sees the films as opportunities for new film talent. Over the last few years, a peek at Japan’s year-end top-ten box office lists will find films produced by television networks, heavily staffed with their own production crews, topping the charts, a trend that many in the industry believe is shutting out new directors. “It is hard for young talent to make a debut,” said Yoshinori Chiba, a producer of the new films. “We are hoping that the ‘Returns’ series will bring opportunities to young directors to break through this closed environment.”

The rebirth of “From the Back, From the Front” is a rather nasty comedy directed by fresh face Shoichiro Masumoto and finds sultry and shapely taxi driver Momoko (Tomomi Miyauchi, a former model and member of the Miniskirt Police pop group) offering passengers far more than a simple ride when they get in her back seat.

Shirakawa’s roots in the trade go back to the 1960s, when she was performing in pinku eiga, or pink films, a similar form that still exists today and utilized a selection of tiny, independently run companies to produce quick-and-dirty erotic productions.

With little in the way of a support staff, Shirakawa said that a pink actress was relegated to doing such menial tasks as fixing her own hair or purchasing a kimono at a pawn shop to fit a particular role. “I really learned how to read the script because there was nobody there to assist me,” she said. “I became a self-made person.”

By contrast, Nikkatsu’s roman porno films were able to offer larger budgets and, as a result, a better look and image quality. The films, which usually ran for around 60 minutes, also had access to the studio’s chain of theaters for screenings.

Shirakawa was subsequently poached by Nikkatsu, a move that she felt was a step up. “When I was in pink films, I had to hide my job and could not make aspects of it public,” she said. “On the cover of the scripts I had to write something like ‘Fuji TV’ to conceal the contents. However, at Nikkatsu I felt as if I were in Hollywood.”

Nakahara, who fondly recalls seeing Shirakawa perform passion-charged, “uncensored” roles in stage plays at various theaters in Tokyo’s Shimbashi, Shibuya and Shinjuku districts, said that he was initially reluctant to join Nikkatsu because the studio had “stolen” his favorite pink actress, whom he also frequently caught on pink screens when he was a student. “But once I saw a roman porno film I got an impression of a new wave of American cinema,” said the director, who made his debut in 1982 with “Okasare Shigan” (Candidate for Seduction).

At the time of the roman porno incarnation, Nikkatsu was on the verge of bankruptcy as the emergence of television threatened the entire film industry. In Japan’s “Golden Era” of cinema in the ’50s and ’60s the number of screens had ballooned to over 7,000, but by 1970 only 3,000 were in operation.“The roman porno direction was taken to rebuild the company,” said Nikkatsu’s Chiba.

Yet unlike Shirakawa’s recollection that “Apartment Wife: Afternoon Affair” was shocking for its content, major studios in Japan had previously dabbled in smutty offerings. Along with Toei, which in the 1960s experimented with various torture and erotic-grotesque films, Nikkatsu had released its share of non-puritanical fare, such as director Seijun Suzuki’s “Nikutai no Mon” (Gate of Flesh) from 1964.

Similar to the stated intention of the ‘Returns’ versions, the roman porno originals provided a testing ground for young talent to develop their craft — that is, as long as the requisite skin-scene-every-ten-minutes quota was met. “It had the image of something new, something different,” said Nakahara. “All of the directors were competing to come up with something different. If one director did one thing, another would try something else.”

The styles went far beyond the “Apartment Wife” series and ranged from hardcore SM themes, such as 1974′s “Hana to Hebi” (Flower and Snake), featuring sadomasochistic starlet Naomi Tani, to truly romantic stories, like the very soft “Love Letter” (1981), which was billed as being appropriate even for ladies to view.

The “Roman Porno Returns” Web page indicates that students were always looking forward to seeing the standard release of two new movies every other week, and the competition between directors (mentioned by Nakahara) resulted in quality productions.

As shown by the lead character in the “Apartment Wife” films, the output was largely intended to be genuinely emotion-filled — a contrast to typical snuff flicks that primarily focused on naked bodies and pounding flesh. “Assessments of the works considered them to be regular film pieces,” said Yoshinori.

“Roman porno was not trying to simply show sex. It also wanted to bring adult themes out into the open,” said Jasper Sharp, author of the book “Behind the Pink Curtain” (2008), a look at the history of sex in Japanese cinema.

Critical acclaim was not unusual. For 1972, film trade magazine Kinema Junpo ranked “Ichijo Sayuri: Nureta Yokujo” (Ichijo’s Wet Lust) eighth in its annual top-ten list and included it in 1999 as one of the top-100 Japanese films of the century. That film’s female lead, Hiroko Hisayama, was given Best Actress that year by that same publication for her role as a rookie stripper.

The high profile of roman porno also stirred up controversy. One of the most scandalous of the films was the original “From the Back, From the Front,” starring singer Yoko Hatakenaka, a one-time idol whose musical debut “Love Letter from Canada” propelled her to a spot in public broadcaster NHK’s year-end “Red and White Song Contest” in 1978. A song titled “From the Back, From the Front” was released two years later, around the same time as her roman porno debut in “Ai no Hakujitsumu” (Daydream Love), a controversial transition that propelled that single and subsequently the film, released in December, to hit levels.

Roman porno finally died out in the ’80s, largely due to the emergence of adult video, whereby fans were able to get their fill of erotica at home. Nikkatsu hit upon tough times again in 1993, when it filed for structural reorganization. The studio, originally founded in 1912, has since been bought and sold by various firms and is now jointly owned by SKY PerfecTV! and the Nippon Television Network. In true Nikkatsu fashion of never staying sedentary, the studio last year launched a special imprint specializing in gore films, Sushi Typhoon, which producer Chiba is heading.

As far as a legacy, critics believe that the original roman porno works built the foundation for much of today’s Japanese cinema. “Time Escapade: 5 Seconds Before Climax” (1986) is included in the resume of director Yojiro Takita, who won a best foreign-language Oscar in 2009 for “Okuribito” (Departures). Nakahara went on to make the critically acclaimed mainstream feature “Sakura no Sono” (Cherry Blossom Garden), a 1990 adaptation of a manga set in a high school written by Akimi Yoshida that has been remade into theatrical productions.

The originals are not entirely dead. Film festivals around the world, especially in France, routinely slot the productions into their lineups. Further, revival theaters in Tokyo often have screenings. Cinema Vera in Shibuya is now featuring numerous works by directors such as the acclaimed Noburo Tanaka, including 1977’s SM-themed “Hakkinbon Bijin Ranbu Yori: Semeru!” (Beauty’s Exotic Dance – Torture!) — the third in a trilogy and starring roman porno’s second queen, Junko Miyashita.

At present, Nikkatsu does not have plans to continue the revival series. But the positive response from film-goers — many of whom have been female — has been overwhelming. The studio is currently contemplating further releases.

“Perhaps people are fed up with the information on sex that is chaotically floating around the world,” said Nikkatsu’s Chiba about the renewed interest. “We hope that ‘Returns’ will establish itself as a new genre that will assimilate itself into the present era.”

Note: Both “Apartment Wife: Afternoon Affair” and “From the Back, From the Front” will screen at Marion Cinema in Sapporo until Apr. 2 and move on to Osaka and Fukuoka later that month.


Pink TaishoEdit

==1996== =="Ten Best" films== 1. {{nihongo|'''''[[ Adultery Diary: One More Time While I'm Still Wet]]'''''|[[不倫日記 濡れたままもう一度]]|[[Furin Nikki: Nureta mama Mō Ichidō'' ([[Toshiki Satō]]; Kokuei) 2. {{nihongo|'''''[[ |'''''Upcoming Scenery'''''|[[赫い情事]]|[[Akai Jōji'' ([[Takahisa Zeze]]; Kokuei) 3. {{nihongo|'''''[[ |'''''Scent of a Female: Rapturous Pistil'''''|[[牝臭 とろける花芯]]|[[Menshū: Torokeru Kashin'' ([[Takahisa Zeze]]; Kokuei) 4. {{nihongo|'''''[[ SM Teacher: Tied Up by Students]]'''''|[[SM教師 教え子に縛られて]]|[[SM Kyōshi: Oshieko ni Shibarete'' ([[Yutaka Ikejima]]; Xces) 5. {{nihongo|'''''[[ |'''''Forbidden Affair: Adulterous Wife Legs Spread Wide Open'''''<br>''aka'' '''''Slow Motion'''''|[[禁じられた情事 不倫妻大股びらき]]|[[Kinjirareta Jōji: Furin-zuma Ōmata Biragi'' ([[Toshiro Enomoto]]; Kokuei) 6. {{nihongo|'''''[[(tie) |'''''Love Me Danger'''''|[[危なく愛して LOVE ME DANGER]]|[[Abunaku ai Shite'' ([[Yutaka Ikejima]]; ENK) 6. {{nihongo|'''''[[(tie) |'''''Kogal*KoMadam*Wife*Beautiful Mature Woman: Lewd Carnival'''''|[[コギャル・コマダム・人妻・美熟女 淫乱謝肉祭]]|[[Kogal*Komadamu*Hitozuma*Bijukujo: Inran Shanikusai'' ([[Yutaka Ikejima]]; Shintōhō) 8. {{nihongo|'''''[[ |'''''18 Years Old'''''|[[十八歳]]|[[Jūhassai'' (Takaaki Hashiguchi; ENK) 9. {{nihongo|'''''[[ Women at a Secret Meeting: From Wives to Coeds]]'''''|[[密会の女たち 人妻から女子大生まで]]|[[Mikkai no Onnatachi: Hitozuma kara Joshidaisei made'' ([[Yukio Kitazawa]]; Xces) 10. {{nihongo|'''''[[ |'''''Chronic Rutting Adultery Wife'''''|[[まん性発情不倫妻]]|[[Mansei Hatsujō Furin-zuma'' ([[Yumi Yoshiyuki]]; Ōkura Eiga) Honorable Mention. {{nihongo|'''''[[ The Wart (film)|The Wart]]'''''|[[痴漢電車 感じるイボイボ]]|[[Chikan Densha: Kanjiru Iboibo'' ([[Shinji Imaoka]]; Kokuei) ==Personnel awards== * Best Director: **[[Takahisa Zeze]] ({{nihongo|'''''[[|''Upcoming Scenery''|赫い情事]]|[[Akai jōji}}, etc.) * Best Screenplay: **Masahiro Kobayashi (''[[Adultery Diary: One More Time While I'm Still Wet]]'') * Best Actress: **[[Hotaru Hazuki]] (''[[Adultery Diary: One More Time While I'm Still Wet]]'', etc.) **[[Yumi Yoshiyuki]] ({{nihongo|'''''[[|''Chronic Rutting Adultery Wife''|まん性発情不倫妻]]|[[Mansei hatsujō furin-zuma}}, etc.) * Best Actor: **[http://pinkeiga.com/HTML/Actors/yota_kawase.html Yota Kawase] ({{nihongo|'''''[[|''Upcoming Scenery''|赫い情事]]|[[Akai jōji}}, etc.) **[[Kazuhiro Sano]] (''[[SM Teacher: Tied Up by Students]]'', etc.) * Best New Director: **[[Toshiro Enomoto]] ({{nihongo|'''''[[|''Forbidden Affair: Adulterous Wife Legs Spread Wide Open''|禁じられた情事 不倫妻大股びらき]]|[[Kinjirareta jōji: furin-zuma ōmata biragi}}) **[[Yumi Yoshiyuki]] ({{nihongo|'''''[[|''Chronic Rutting Adultery Wife''|まん性発情不倫妻]]|[[Mansei hatsujō furin-zuma}}) * Best New Actress: **Azumi Yūki ({{nihongo|'''''[[|''Forbidden Affair: Adulterous Wife Legs Spread Wide Open''|禁じられた情事 不倫妻大股びらき]]|[[Kinjirareta jōji: furin-zuma ōmata biragi}}, etc.) **Rena Sawaguchi (高校教師 私は、我慢できない, etc.) **Makoto Tanaka (濃淫女 飲ませて!, etc.) **[[Megumi Makihara]] ({{nihongo|'''''[[|''Scent of a Female: Rapturous Pistil''|牝臭 とろける花芯]]|[[Menshū: torokeru kashin}}, etc.) **Maako Mizuno (''[[The Wart (film)|The Wart]]'') * Technical Award: **[[Kōichi Saitō (cinematographer)|Kōichi Saitō]] (Cinematography: {{nihongo|'''''[[|''Upcoming Scenery''|赫い情事]]|[[Akai jōji}}, etc.) * Special Award: **[[Ōkura Eiga]] ==1997== =="Ten Best" films== 1. {{nihongo|'''''[[ I Thought About You (film)|I Thought About You]]'''''|[[思いはあなただけ]]|[[Omoi wa anata dake'' ([[Yukio Kitazawa]]; ENK) |2. |'''''Rice Bowl of Sisters'''''|[[姉妹どんぶり 抜かずに中で]]|[[Shimai donburi: nukazuni nakade'' ([[Yumi Yoshiyuki]]; Ōkura Eiga) 3. {{nihongo|'''''[[ |'''''Guts of a Mature Woman: Crimson Cleft'''''|[[熟女のはらわた 真紅の裂け目]]|[[Jukujo no harawata: shinku no sakeme'' ([[Kazuhiro Sano]]; Kokuei) 4. {{nihongo|'''''[[ |'''''Beautiful Secretary: Rip Off the Panty Hose'''''|[[美人秘書 パンストを剥ぐ]]|[[Bijinhisho: pansuto wo hagu'' ([[Yutaka Ikejima]]; Ōkura Eiga) 5. {{nihongo|'''''[[ |'''''Apartment Wife: Midday Adultery'''''|[[団地妻 白昼の不倫]]|[[Danchi-zuma: hakuchū no furin'' ([[Toshiki Satō]]; Kokuei) 6. {{nihongo|'''''[[ |'''''Excessively Lecherous Women'''''|[[スケベすぎる女ども]]|[[Sukebe sugiru onnadomo'' (Genji Shibahara; Ōkura Eiga) 7. {{nihongo|'''''[[ |'''''Lascivious Nurse Uniform Diary: Two or Three Times, While I'm Wet'''''|[[白衣いんらん日記 濡れたまま二度、三度]]|[[Hakui inran nikki: nureta mama nido, sando'' ([[Mitsuru Meike]]; Shintōhō) 8. {{nihongo|'''''[[ |'''''Big Brother's Wife, Want to Do It Once'''''|[[一度はしたい兄貴の嫁さん]]|[[Ichido wa shitai aniki no yonesan'' (Shinji Kuma; Xces) 9. {{nihongo|'''''[[ |'''''Red Lust'''''|[[赤い欲情 はめ上手]]|[[Akai yokujō: hame uwate'' ([[Toshiya Ueno]]; Kokuei) 10. {{nihongo|'''''[[ |'''''True Story of Violence: Screaming Women'''''|[[暴行の実録 泣き叫ぶ女たち]]|[[Bōkō no jitsuroku: nakisakebu onnatachi'' (Genji Shibahara; Ōkura Eiga) Honorable Mention. {{nihongo|'''''[[ |'''''[http://pinkeiga.com/HTML/Whore%20Hospital.html Whore Hospital]'''''|[[ピンサロ病院 ノーパン白衣]]|[[Pinsaro byoin nopan hakui'' ([[Sachi Hamano|Chise Matoba]] (Sachi Hamano); Shintōhō) ==Personnel awards== * Best Director: **[[Yumi Yoshiyuki]] ({{nihongo|'''''[[|''Rice Bowl of Sisters''|姉妹どんぶり 抜かずに中で]]|[[Shimai donburi: nukazuni nakade}}) * Best Screenplay: **Masahiro Kobayashi ({{nihongo|'''''[[|''Apartment Wife: Midday Adultery''|団地妻 白昼の不倫]]|[[Danchi-zuma: hakuchū no furin}}, etc.) * Best Actress: **[[Megumi Makihara]] ({{nihongo|'''''[[|''Big Tits * Beautiful Tits * Obscene Tits: Rubbing Competition''|巨乳・淫乳・美乳 揉みくらべ]]|[[Kyonyū*binyū*innyū: ~momikurabe~}}, etc.) **[[Hotaru Hazuki]] ({{nihongo|'''''[[|''Apartment Wife: Midday Adultery''|団地妻 白昼の不倫]]|[[Danchi-zuma: hakuchū no furin}}, etc.) * Best Actor: **神戸顕一 ({{nihongo|'''''[[|''True Story of Violence: Screaming Women''|暴行の実録 泣き叫ぶ女たち]]|[[Bōkō no jitsuroku: nakisakebu onnatachi}}, etc.) **Makoto Sugimoto (aka:[http://pinkeiga.com/HTML/Actors/seiji_nakamitsu.html Seiji Nakamitsu]) (ザ・痴漢教師 制服狩り, etc.) * Best New Director: **[[Mitsuru Meike]] ('' Lascivious Nurse Uniform Diary: Two or Three Times, While I'm Wet'') * Best New Actress: **麻生みゅう ({{nihongo|'''''[[|''Guts of a Mature Woman: Crimson Cleft''|熟女のはらわた 真紅の裂け目]]|[[Jukujo no harawata: shinku no sakeme}}, etc.) **Yoko Chōsokabe (どすけべ父娘 淫らな性生活, etc.) **[[Motoko Sasaki]] ({{nihongo|'''''[[|''Beautiful Secretary: Rip Off the Panty Hose''|美人秘書 パンストを剥ぐ]]|[[Bijinhisho: pansuto wo hagu}}, etc.) * Technical Award: **Yasumasa Konishi (Cinematography: {{nihongo|'''''[[|''Rice Bowl of Sisters''|姉妹どんぶり 抜かずに中で]]|[[Shimai donburi: nukazuni nakade}}, etc.) * Special Award: **Posthumous: Hideo Ito ==1998== =="Ten Best" films== 1. {{nihongo|'''''[[ Moon Light Dinner]]'''''|[[超いんらん 姉妹どんぶり]]|[[Chōinran: shimai donburi'' ([[Yutaka Ikejima]]; Kokuei) |2. |'''''Shinjuku Diary: Scaredy Cat'''''|[[新宿♀日記 迷い猫]]|[[Shinjuku*nikki: mayoi neko'' ([[Toshiki Satō]]; Kokuei / Shintōhō) 3. {{nihongo|'''''[[ |'''''Black and Black: Out of This World'''''|[[黒と黒 OUT OF THIS WORLD]]|[[Kuro to kuro: out of this world'' (Niizata Mosaku; ENK) 4. {{nihongo|'''''[[ |'''''This Sort of Couple'''''|[[こんな、ふたり]]|[[Konna futari'' ([[Yutaka Ikejima]]; ENK) 5. {{nihongo|'''''[[ |'''''Girl in Heat: Thread-Pulling Underwear'''''|[[発情娘 糸ひき生下着]]|[[Hatsujō musume: itohiki seishitagi'' ([[Yumi Yoshiyuki]]; Ōkura Eiga) 6. {{nihongo|'''''[[ |'''''Report on Blind Passion: Shameless'''''|[[痴情報道 悦辱肉しびれ]]|[[Chijōhōdō: etsuhajishibire'' ([[Yutaka Ikejima]]; Ōkura Eiga) 7. {{nihongo|'''''[[ |'''''The Bride's Vibrator: Drilling'''''|[[花嫁バイブ淫行 えぐる]]|[[Hanayome baibu inkō: eguru'' ([[Yutaka Ikejima]]; Ōkura Eiga) 8. {{nihongo|'''''[[ |{{nihongo|'''''[[2|ぐしょ濡れ美容師 すけべな下半身]]|[[Gushonure Biyōshi: Sukebena Kahanshin'' ([[Mitsuru Meike]]; Shintōhō) 9. {{nihongo|'''''[[ |'''''Dangerous Affair: Drool of the Beast'''''|[[あぶない情事 獣のしたたり]]|[[Abunai jōji: kedamono no shitatari'' (Yoshitaka Kamata; Kokuei) 10. {{nihongo|'''''[[ |'''''Mature Woman Soap: Thrusting In and Out'''''|[[熟女ソープ 突きぬけ発射]]|[[Jukujo soap: tsukinuke hassha'' ([[Toshiro Enomoto]]; Shintōhō) Honorable Mention. {{nihongo|'''''[[ |'''''Nurse and Married Woman: The Lustful Sister-in-Law'''''|[[白衣と人妻 したがる兄嫁]]|[[Byakui to hitozuma: shitagaru aniyome'' ([[Toshiya Ueno]]; Kokuei) ==Personnel awards== * Best Director: **[[Yutaka Ikejima]] (''[[Moon Light Dinner]]'', etc.) * Best Screenplay: **Kyōko Godai (''[[Moon Light Dinner]]'', etc.) * Best Actress: **Yoko Chōsokabe ({{nihongo|'''''[[|''Shinjuku Diary: Scaredy Cat''|新宿♀日記 迷い猫]]|[[Shinjuku*nikki: mayoi neko}}, etc.) **Nao Saito (生尻娘のあえぎ汁, etc.) * Best Actor: **[http://pinkeiga.com/HTML/Actors/yota_kawase.html Yota Kawase]({{nihongo|'''''[[|''Girl in Heat: Thread-Pulling Underwear''|発情娘 糸ひき生下着]]|[[Hatsujō musume: itohiki seishitagi}}, etc.) **Makoto Sugimoto (aka:[http://pinkeiga.com/HTML/Actors/seiji_nakamitsu.html Seiji Nakamitsu]) (不浄下半身 尼寺の情事2, etc.) **Kikuo Honda (aka:[http://pinkeiga.com/HTML/Actors/kikujiro_honda.html Kikujiro Honda]) (白衣と人妻 したがる兄嫁, etc.) * Best New Director: **Yoshitaka Kamata ({{nihongo|'''''[[|''Dangerous Affair: Drool of the Beast''|あぶない情事 獣のしたたり]]|[[Abunai jōji: kedamono no shitatari}}, etc.) **Hiroyoshi Sejima (人妻銀行員 不倫密会, etc.) * Best New Actress: **Kanae Mizuhara (''[[Moon Light Dinner]]'', etc.) **[http://pinkeiga.com/HTML/Actresses/yumeka_sasaki.html Yumeka Sasaki] ({{nihongo|'''''[[2|ぐしょ濡れ美容師 すけべな下半身}}, etc.) **[[Yōko Satomi]] (人妻と愛人 不倫ハメ覗き, etc.) * Technical Award: **Yasumasa Konishi (Cinematography: {{nihongo|'''''[[|''Girl in Heat: Thread-Pulling Underwear''|発情娘 糸ひき生下着]]|[[Hatsujō musume: itohiki seishitagi}}, etc.) * Special Award: **亀有名画座 ==1999== =="Ten Best" films== 1. {{nihongo|'''''[[ Office Lady Love Juice]]'''''|[[OLの愛汁 ラブジュース]]|[[OL no Aijiru: Rabu Jūsu'' ([[Yūji Tajiri]]; Kokuei) |2. Anarchy in Japansuke|Anarchy in Japansuke: The Woman Who Comes When Watched]]'''''|[[アナーキー・イン・じゃぱんすけ 見られてイク女]]|[[Anaakii in Japansuke: Rensa Yūkai'' ([[Takahisa Zeze]]; Kokuei / Shintōhō) 3. {{nihongo|'''''[[ |'''''The Lustful Sister-in-Law 2: Erotic Games'''''|[[したがる兄嫁2 淫らな戯れ]]|[[Shitagaru Aniyome 2: Midara na Tawamure'' ([[Toshiya Ueno]]; Kokuei) 4. {{nihongo|'''''[[ |'''''Addicted to Love'''''|[[僕は恋に夢中]]|[[Boku wa Koi ni Muchu'' ([[Yumi Yoshiyuki]]; Ōkura Eiga) 5. {{nihongo|'''''[[(tie) Public Lavatory: I've Been Loitering]]'''''|[[公衆便所 私いたずらされました]]|[[Kōshūbenjo: Watakushi Itazurasaremashita'' (Hiroyoshi Sejima; Xces) 5. {{nihongo|'''''[[(tie) |'''''Deadline: Play Shima Uta, to Men's Souls'''''|[[デッドライン 島唄よ響け、男たちの魂に]]|[[Deadline: Shimautayo Hibike, Otokotachi no Tamashii ni'' (Niizata Mosaku; ENK) 7. {{nihongo|'''''[[(tie) |'''''Peeking at Mother-in-Law: On Tiptoe with Tongue's Entwined'''''|[[義母覗き 爪先に舌絡ませて]]|[[Gibo Nozoki: Tsumasaki ni Shita Karamasete'' ([[Minoru Kunizawa]]; Ōkura Eiga) 7. {{nihongo|'''''[[(tie) |'''''No-Underwear Housewife: Wildly Immoral Weekend'''''|[[ノーパン妻 週末は不倫狂い]]|[[Nōpan Tsuma: Shūmatsu wa Furin Kurui'' ([[Minoru Kunizawa]]; Ōkura Eiga) 9. {{nihongo|'''''[[ |'''''Lustful Hot Spring: The Slime of Beautiful Skin'''''|[[愛欲温泉 美肌のぬめり]]|[[Aiyoku Onsen: Bihada no Numeri'' ([[Toshiki Satō]]; Kokuei / Shintōhō) 9. {{nihongo|'''''[[(tie) |'''''New Apartment Wife: Adultery Is the Taste of Honey'''''<br>''aka'' '''''Only for Tonight...'''''|[[新・団地妻 不倫は蜜の味]]|[[Shin Danchi-zuma: Furin wa Mitsu no Aji (Koyoi Kagiri wa...)'' ([[Toshiki Satō]]; Kokuei / Shintōhō) Honorable Mention. {{nihongo|'''''[[ Sopping Wet Married Teacher: Doing It in Uniform]]'''''<br>''aka'' '''''Despite All That'''''|[[ぐしょ濡れ人妻教師 制服で抱いて]]|[[Gushonure Hitozuma Kyōshi - Seifuku de idaite'' ([[Shinji Imaoka]]; Kokuei) ==Personnel awards== * Best Director: **[[Yūji Tajiri]] (''[[Office Lady Love Juice]]'') * Best Screenplay: **Kōsuke Takeda (''[[Office Lady Love Juice]]'', etc.) * Best Actress: **[[Yōko Satomi]] ({{nihongo|'''''[[|''Wolf Teacher 3: The Smell of School Uniforms''|ザ・痴漢教師3 制服の匂い]]|[[Za chikan kyōshi 3: seifuku no nioi}}, etc.) **[[Hotaru Hazuki]] ({{nihongo|'''''[[|''The Lustful Sister-in-Law 2: Erotic Games''|したがる兄嫁2 淫らな戯れ]]|[[Shitagaru aniyome 2: midara na tawamure}}, etc.) * Best Actor: **Mikio Satō (''[[Office Lady Love Juice]]'', etc.) **[[Kazuhiro Sano]] (見られてイク女, etc.) * Best New Director: **[[Rei Sakamoto]] {{nihongo|'''''[[|''Sex Friend: Wet Season''|セックス・フレンド 濡れざかり]]|[[Sekkusu Furendo: Nurezakari}} * Best New Actress: **Kinako Satō (''Sex Friend: Wet Season'', etc.) **Mayuko Sasaki ({{nihongo|'''''[[|''Peeking at Mother-in-Law: On Tiptoe with Tongue's Entwined''|義母覗き 爪先に舌絡ませて]]|[[Gibo nozoki: tsumasaki ni shita karamasete}}, etc.) **Mitsuyo Suwa (愛欲みだれ妻, etc.) **Hitomi Yamazaki (好色夫婦 すすって欲しい, etc.) * Technical Award: **Isao Yamada (Music: {{nihongo|'''''[[|''Lustful Hot Spring: The Slime of Beautiful Skin''|愛欲温泉 美肌のぬめり]]|[[Aoyoku onsen: bihada no numeri}}, etc.) * Special Award: **亀有名画座&ラストショー亀有名画座スタッフ ==2000== =="Ten Best" films== 1. {{nihongo|'''''[[ Sad and Painful Search: Office Lady Essay]]'''''|[[せつなく求めて OL編]]|[[Setsunaku motomete: OL hen'' ([[Tarō Araki]]; OP Eiga) |2. Whore Angels|Pink Salon Hospital 3: No-Pants Exam Room]]'''''|[[ピンサロ病院3 ノーパン診察室]]|[[Pinsaro Byōin 3: Nōpan Shinsatsushitsu (Mototsugu Watanabe; Shintōhō) 3. {{nihongo|'''''[[ |'''''The Bride is Wet on the Wedding Night'''''|[[花嫁は初夜に濡れて]]|[[Hanayome wa shoya ni nurete'' ([[Minoru Kunizawa]]; OP Eiga) 4. {{nihongo|'''''[[ Lecherous Older Sister]]'''''|[[どすけべ姉ちゃん]]|[[Dosukebe anechan'' ([[Toshiya Ueno]]; Kokuei) 5. {{nihongo|'''''[[(tie) |'''''Endless Lust: Heat Me Up!'''''|[[果てしない欲情 もえさせて!]]|[[Hate shinai yokujō: mowaseste!'' ([[Toshiki Satō]]; Kokuei / Shintōhō) 5. {{nihongo|'''''[[(tie) |'''''Adulterous Desires: I Want to be Satisfied'''''|[[不倫願望 癒されたい]]|[[Furinkanbō: iyasaretai'' ([[Minoru Kunizawa]]; OP Eiga) 7. {{nihongo|'''''[[ Sex Guy's Inn: Women's Wiggling Asses]]'''''|[[性奴の宿 うごめく女尻]]|[[Seiyatsu no yado: ugokumeku mejiri'' ([[Yutaka Ikejima]]; OP Eiga) 8. {{nihongo|'''''[[ Apartment Wife: Adulterous Passion]]'''''|[[団地妻 不倫でラブラブ]]|[[Danchi-zuma: furin de rabu rabu'' ([[Toshiki Satō]]; Kokuei / Shintōhō) 9. {{nihongo|'''''[[ |'''''Lolita-Colored Underpants'''''|[[ロリ色の生下着]]|[[Loli iro no seishitagi'' ([[Yutaka Ikejima]]; OP Eiga) 10. {{nihongo|'''''[[ |'''''B-Grade Video Correspondent: AV Guy: Extraction Shop Ken'''''|[[B級ビデオ通信 AV野郎・抜かせ屋ケンちゃん]]|[[B-kyū bideo tsūshin: AV yarō: nukase-ya Ken-chan'' (Rokuro Mochizuki; Xces) Honorable Mention. {{nihongo|'''''[[ |'''''Lustful Wife: Embarrassing Tendencies'''''|[[欲情夫人 恥かしい性癖]]|[[Yokujō fujin: hazukashii seihiku'' ([[Yukio Kitazawa]]; Xces) ==Personnel awards== * Best Director: **[[Minoru Kunizawa]] ({{nihongo|'''''[[|''The Bride is Wet on the Wedding Night''|花嫁は初夜に濡れて]]|[[Hanayome wa shoya ni nurete}}, etc.) * Best Screenplay: **Masahiro Kobayashi (''[[Lecherous Older Sister]]'', etc.) * Best Actress: **Mayuko Sasaki (''[[Sex Guy's Inn: Women's Wiggling Asses]]'', etc.) **Ayumu Tokitō (黒下着の淫らな戯れ, etc.) * Best Actor: **Tomohiro Okada (''[[Sad and Painful Search: Office Lady Essay]]'', etc.) **Seiji Nakamitsu ({{nihongo|'''''[[|''Lolita-Colored Underpants''|ロリ色の生下着]]|[[Loli iro no seishitagi}}, etc.) * Best New Director: **Kajino (鎖縛 SABAKU) * Best New Actress: **Shiori Kawamura ({''[[Sex Guy's Inn: Women's Wiggling Asses]]'', etc.) **Yuki Yokohama ({{nihongo|'''''[[|''Endless Lust: Heat Me Up!''|果てしない欲情 もえさせて!]]|[[Hate shinai yokujō: mowaseste!}}, etc.) **Atsuko Suzuki ({{nihongo|'''''[[|''Lolita-Colored Underpants''|ロリ色の生下着]]|[[Loli iro no seishitagi}}, etc.) **Ami Minami ({{nihongo|'''''[[|''Adulterous Desires: I Want to be Satisfied''|不倫願望 癒されたい]]|[[Furinkanbō: iyasaretai}}, etc.) * Technical Award: **Shōji Shimizu (Cinematography: ''[[Sad and Painful Search: Office Lady Essay]]'', etc.) * Special Award: **P1グランプリ2000実行委員会 ==2001== =="Ten Best" films== 1. {{nihongo|'''''[[ Apartment Wife: Moans from Next Door]]'''''|[[団地妻 隣りのあえぎ]]|[[Danchi-zuma: Tonari no Aegi'' ([[Toshiki Satō]]; Kokuei / Shintōhō) |2. Mourning Wife]]'''''|[[喪服の女 崩れる]]|[[Mofuku no Onna: Kuzureru'' (Daisuke Goto; Shintōhō) 3. {{nihongo|'''''[[ |'''''[http://pinkeiga.com/HTML/GroperTrain.html Groper Train]'''''|[[痴漢電車 さわってビックリ!]]|[[Chikan Densha: Sawatte Bikkuri!'' ([[Toshiro Enomoto]]; Shintōhō) 4. {{nihongo|'''''[[ Sister-in-Law's Wet Thighs]]'''''|[[義姉さんの濡れた太もも]]|[[Oneesan no Nureta Futomomo'' ([[Tarō Araki]]; OP Eiga) 5. {{nihongo|'''''[[ New * Desired Sister-in-Law: Immoral Relations]]'''''|[[新・したがる兄嫁 ふしだらな関係]]|[[Shin * Shitagaru Aniyome: Fushidarana Kankei'' ([[Toshiya Ueno]]; Kokuei / Shintōhō) 6. {{nihongo|'''''[[ Office Lady Sisters: I Want to Sleep with You]]'''''|[[姉妹OL 抱きしめたい]]|[[Shimai OL: Itakishimetai'' ([[Yūji Tajiri]]; Kokuei) 7. {{nihongo|'''''[[ |'''''[http://pinkeiga.com/HTML/ChainSuicide.html The Suicide Chain]'''''|[[18才 下着の中のうずき]]|[[Jū Hassai Shitagi no Nakano Uzuki'' ([[Rei Sakamoto]]; Kokuei) 8. {{nihongo|'''''[[ Private Lessons: Home Teacher's Breast]]'''''|[[プライベート・レッスン 家庭教師の胸元]]|[[Puraibeeto * Ressun: Kateikyoshi no Munamoto'' ([[Minoru Kunizawa]]; OP Eiga) 9. {{nihongo|'''''[[ |'''''Young Wive's Pleasure Lessons: Enslaved'''''|[[若妻快楽レッスン 虜]]|[[Wakazuma Kairaku Ressun: Toriko'' ([[Mamoru Watanabe]]; Shintōhō) 10. {{nihongo|'''''[[ Over-Thirty Alumnus Association]]'''''|[[三十路同窓会 ハメをはずせ!]]|[[Misojidōsōkai: Hame o Hazuse!'' (Kazue Nakamura; Xces) Honorable Mention. {{nihongo|'''''[[ Immoral First Love: Loving from the Nipples]]'''''|[[初恋不倫 乳首から愛して]]|[[Hatsukoifurin: Chikubi kara Aishite'' ([[Tarō Araki]]; OP Eiga) ==Personnel awards== * Best Director: **[[Tarō Araki]] (''[[Sister-in-Law's Wet Thighs]]'', etc.) * Best Screenplay: **[[Shinji Imaoka]] (''[[Apartment Wife: Moans from Next Door]]'', etc.) * Best Actress: **[[Yōko Satomi]] ({{nihongo|'''''[[|''Young Wive's Pleasure Lessons: Enslaved''|若妻快楽レッスン 虜]]|[[Wakazuma kairaku ressun: toriko}}, etc.) **Mayuko Sasaki (''[[Mourning Wife]]'', etc.) **Mayumi Sawaki (濡れる美人妻 ハメられた女, etc.) * Best Actor: **[http://pinkeiga.com/HTML/Actors/yota_kawase.html Yota Kawase] ({{nihongo|'''''[[|''Molester's Train: Touch and Surprise!''|痴漢電車 さわってビックリ!]]|[[Chikan densha: sawatte bikkuri!}}, etc.) **[http://pinkeiga.com/HTML/Actors/seiji_nakamitsu.html Seiji Nakamitsu] (いんらん母娘 ナマで愛して, etc.) * Best New Director: **Kenji Hanyū (和服熟女の性生活 二十・三十・四十歳) * Best New Actress: **Mao Nakagawa (''[[Apartment Wife: Moans from Next Door]]'', etc.) **Yukari Iwashita ({{nihongo|'''''[[2|美人おしゃぶり教官 肉体㊙教習}} - ''Bijin Oshaburi Kyoukan: Nikutai Maruhi Kyoushū'', etc.) **[[Mayu Asada]] ({{nihongo|'''''[[|''Groper Train''|痴漢電車 さわってビックリ!]]|[[Chikan densha: sawatte bikkuri!}}) * Technical Award: **Masahide Iioka (Cinematography: ''[[Mourning Wife]]'', etc.) * Special Award: **Posthumous: [[Satoru Kobayashi (director)|Satoru Kobayashi]] ==2002== =="Ten Best" films== 1. {{nihongo|'''''[[ A Saloon Wet with Beautiful Women]]'''''|[[美女濡れ酒場]]|[[Bijo nure sakaba'' (Tatsuro Kashihara; OP Eiga) |2. |'''''Cuffs / Handcuffs ''''' / '''''Lost Virgin: Resigned to Paid Dating'''''|[[ロスト・ヴァージン やみつき援助交際]]|[[Rosuto baajin: yamitsuki enjo kōsai'' ([[Toshiki Satō]]; Kokuei / Shintōhō) 3. {{nihongo|'''''[[ Office Lady's Sexual Confession: Burning Love Affair]]'''''|[[OL性告白 燃えつきた情事]]|[[OL Seikokuhaku: Moetsukita Jōji'' ([[Yutaka Ikejima]]; Shintōhō) 4. {{nihongo|'''''[[ |'''''Wive's Meeting Place: Wives Sexual Tendencies the Husband Does Not Know'''''|[[人妻出会い系サイト 夫の知らない妻の性癖]]|[[Hitozuma deaikei site: otto no shiranai tsuma no seihikki'' ([[Toshiro Enomoto]]; Shintōhō) 5. {{nihongo|'''''[[ Shameful Family: Pin Down Technique]]'''''|[[ハレンチ・ファミリー 寝ワザで一発]]|[[Harenchi Famirii: Newaza de Ippatsu'' ([[Mitsuru Meike]]; Kokuei / Shintōhō) 6. {{nihongo|'''''[[ Adulterous Wife: Dizzy]]'''''|[[不倫する人妻 眩暈]]|[[Furin suru hitozuma: memai'' ([[Yūji Tajiri]]; Kokuei / Shintōhō) 7. {{nihongo|'''''[[ Molester's Bus 2: Heat of the Over Thirty]]'''''|[[痴漢バス2 三十路の火照り]]|[[Chikan basu 2: misoji no hoteri'' ([[Tarō Araki]]; OP Eiga) 8. {{nihongo|'''''[[ Obscene Stalker: It Holds in Darkness!]]'''''|[[猥褻ストーカー 暗闇で抱いて!]]|[[Waisetsu stōkaa: kurayami de idaite!'' ([[Yutaka Ikejima]]; Shintōhō) 9. {{nihongo|'''''[[ |'''''Delivery Health Girl: The Moisture of Silken Skin'''''|[[デリヘル嬢 絹肌のうるおい]]|[[Deriherujō: kinuhada no uruoi'' ([[Yutaka Ikejima]]; OP Eiga) 10. {{nihongo|'''''[[ |'''''Older Woman: Hakata Beauty's Shyness'''''|[[年上の女 博多美人の恥じらい]]|[[Toshiue no onna: hakata bijin no hajirai'' ([[Tarō Araki]]; OP Eiga) ==Personnel awards== * Best Director: **[[Mitsuru Meike]] (''[[Shameful Family: Pin Down Technique]]'', etc.) * Best Screenplay: **Tatsuro Kashihara (''[[A Saloon Wet with Beautiful Women]]'', etc.) * Best Actress: **Koharu Yamasaki (''[[A Saloon Wet with Beautiful Women]]'', etc.) **[[Hotaru Hazuki]] (''[[Obscene Stalker: It Holds in Darkness!]]'', etc.) **ゆき (探偵物語 甘く淫らな罠, etc.) * Best Actor: **Yasushi Takemoto (''[[A Saloon Wet with Beautiful Women]]'', etc.) **[[Kazuhiro Sano]] (''[[Shameful Family: Pin Down Technique]]'', etc.) * Best New Director: **Tatsuro Kashihara (''[[A Saloon Wet with Beautiful Women]]'') * Best New Actress: **Misaki Wakamiya (''[[A Saloon Wet with Beautiful Women]]'', etc.) **Nikki Sasaki ({{nihongo|'''''[[|''The Lost Virgin'' / ''Lost Virgin: Resigned to Paid Dating''|ロスト・ヴァージン やみつき援助交際]]|[[Rosuto baajin: yamitsuki enjo kōsai}}) **Ruri Tachibana ({{nihongo|'''''[[2|人妻陰悶責め}} ''Hitozuma Inmon Zeme'', etc.) **Noriko Masaki ({{nihongo|'''''[[|''Delivery Health Girl: The Moisture of Silken Skin''|デリヘル嬢 絹肌のうるおい]]|[[Deriherujō: kinuhada no uruoi}}, etc.) * Technical Award: **Takuya Hasegawa (Cinematography: ''[[A Saloon Wet with Beautiful Women]]'', etc.) * Special Award: **Fukuoka Ōkura Theater ==2003== The 16th ceremony.<ref name="Slowtrain-16th"/><ref name="Walkerplus-16th"/> =="Ten Best" films== 1. {{nihongo|'''''[[ Ambiguous (film)|Obscene Internet Group Make Me Come!!]]'''''<br>''aka'' '''''Ambiguous'''''|[[猥褻ネット集団 いかせて!!]]|[[Waisetsu Netto Shūdan Ikasete!!'' ([[Toshiya Ueno]]; Kokuei / Shintōhō) |2. Adulterous Wife's Dirty Afternoon]]'''''|[[不倫妻の淫らな午後]]|[[Furin-zuma no Midara na Gogo'' ([[Yutaka Ikejima]]; OP Eiga) 3. {{nihongo|'''''[[ Married Women Who Want a Taste]]'''''|[[味見したい人妻たち]]|[[Ajimi Shitai Hitozuma-tachi'' (Hideo Jōjō; Xces) 4. {{nihongo|'''''[[ Irresistable Angel: Suck It All Up]]'''''|[[悩殺天使 吸い尽くして]]|[[Nōsatsu Tenshi: Sūi Tsukushite'' ([[Minoru Kunizawa]]; OP Eiga) 5. {{nihongo|'''''[[ A Lonely Cow Weeps at Dawn]]'''''|[[痴漢義父 息子の嫁と…]]|[[Chikan Gifu: Musuko no Yome to...'' (Daisuke Gotō; Shintōhō) 6. {{nihongo|'''''[[ |'''''Beautiful Breast Violence: Indecent Nude'''''|[[美乳暴行 ひわいな裸身]]|[[Binyū Bōkō: Hiwai na Ratai'' ([[Tarō Araki]]; OP Eiga) 7. {{nihongo|'''''[[ Eighteen Year-Old, Uniform's Breast]]'''''|[[十八歳、制服の胸元]]|[[Jūhassai, Seifuku no Munamoto'' ([[Minoru Kunizawa]]; OP Eiga) 8. {{nihongo|'''''[[ The Girl Next Door: Taste of Short Steps]]'''''|[[隣のお姉さん 小股の斬れ味]]|[[Tonari no Onesan: Komata no Kireaji'' ([[Tarō Araki]]; OP Eiga) 9. {{nihongo|'''''[[ |'''''Men Who Love'''''|[[恋する男たち]]|[[Ai-suru Otoko-tachi'' ([[Yutaka Ikejima]]; OP Eiga) 10. {{nihongo|'''''[[ |'''''Office Lady Diary: Panting Female Orifice'''''|[[OL日記 あえぐ牝穴]]|[[OL Nikki: Aegu Mesuana'' (Shigeo Moriyama; OP Eiga) ==Personnel awards== * Best Director: **[[Minoru Kunizawa]] (''[[Irresistable Angel: Suck It All Up]]'', etc.) * Best Screenplay: **Tatsurō Kashihara (''[[Irresistable Angel: Suck It All Up]]'', etc.) **Hidekazu Takahara (''[[Ambiguous (film)|Obscene Internet Group Make Me Come!!]]'')  * Best Actress: **[[Motoko Sasaki]] (''[[Adulterous Wife's Dirty Afternoon]]'', etc.) **Azusa Sakai (ノーパン秘書 悶絶社長室, etc.) **Ruri Tachibana (''[[Irresistable Angel: Suck It All Up]]'', etc.) * Best Actor: **[http://pinkeiga.com/HTML/Actors/kikujiro_honda.html Kikujirō Honda] (ノーパン秘書 悶絶社長室, etc.) **Katsumasa Shirato (''[[Married Women Who Want a Taste]]'', etc.) * Best New Director: **Hideo Jōjō (''[[Married Women Who Want a Taste]]'', etc.) * Best New Actress: **Machiko Mai (ノーパン秘書 悶絶社長室, etc.) **Mashiro ({{nihongo|'''''[[|''Chikan Matagura Nozoki''|痴漢股ぐらのぞき}}, etc.) **Shōko Mikami ({{nihongo|'''''[[|''Tsuma no Imōto: Ikenai Yokujō|妻の妹 いけない欲情}}, etc.) **Reiko Yamaguchi (新・日本エロばなし 人妻竜宮城, etc.) * Technical Award: **Takuya Hasegawa (Cinematography: (''[[Irresistable Angel: Suck It All Up]]'', etc.) * Special Award: **Kanda Academy Theater ==2004== The 17th ceremony.<ref name="Walkerplus-17th"/> =="Ten Best" films== 1. {{nihongo|'''''[[ Lunch Box (film)|Lunch Box]]'''''|[[熟女・発情 タマしゃぶり]]|[[Jukujō: Hatsujō Tamashaburi'' ([[Shinji Imaoka]]; Kokuei / Shintōhō) |2. Housekeeper with Beautiful Skin: Made Wet with Finger Torture]]'''''|[[美肌家政婦 指責め濡らして]]|[[Mihada Kaseifu: Yubi Zeme Nurashite'' ([[Tarō Araki]]; OP Eiga) 3. {{nihongo|'''''[[ Twitch – You Are My Toy]]'''''|[[淫らな唇 痙攣]]|[[Midarana Kuchibiru: Keiren'' ([[Yūji Tajiri]]; Kokuei / Shintōhō) 4. {{nihongo|'''''[[ Tsumugi]]'''''|[[制服美少女 先生あたしを抱いて]]|[[Seifuku Bishōjo: Sensei Atashi o Daite'' (Hidekazu Takahara; Kokuei / Shintōhō) 5. {{nihongo|'''''[[ |'''''When I Need You Most'''''|[[せつないかもしれない]]|[[Setsunaikamo Shirenai'' ([[Yumi Yoshiyuki]]; OP Eiga) 5. {{nihongo|'''''[[(tie) |'''''Married Couple Swap Night: My Wife and Your Husband'''''|[[夫婦交換前夜 私の妻とあなたの奥さん]]|[[Fūfu Kōkan Zenya: Watashi no Tsuma to Anata no Okusan'' (Daisuke Goto; Shintōhō) 7. {{nihongo|'''''[[ Aspiring Home Tutor: Soiled Pure Whiteness]]'''''|[[憧れの家庭教師 汚された純白]]|[[Akogare no Kateikyōshi: Yogosareta Junbaku'' ([[Yumi Yoshiyuki]]; OP Eiga) 8. {{nihongo|'''''[[ Widow * Second Wife: Real Sucking Engulfing a Rare Utensil]]'''''|[[後家・後妻 生しゃぶ名器めぐり]]|[[Goke*gozai: Seishaburi Meikimeguri'' (Shigeo Moriyama; OP Eiga) 9. {{nihongo|'''''[[ Picture Book of a Beautiful Young Girl: Soaked Uniform]]'''''|[[美少女図鑑 汚された制服]]|[[Bishōjozukan: Abusareta Seifuku'' ([[Tetsuya Takehora]]; OP Eiga) 10. {{nihongo|'''''[[ Bitter Sweet (2004 film)|Bitter Sweet]]'''''|[[濃厚不倫 とられた女]]|[[Nōkō Furin: Torareta Onna'' ([[Mitsuru Meike]]; Kokuei / Shintōhō) Honorable Mention. {{nihongo|'''''[[ Wife Taxi: Crowded with Big Tits]]'''''|[[人妻タクシー 巨乳に乗り込め]]|[[Hitozuma Takushii: Kyonyū ni Norikomu'' ([[Yutaka Ikejima]]; OP Eiga) ==Personnel awards== * Best Director: **[[Shinji Imaoka]] (''[[Lunch Box (film)|Lunch Box]]'') * Best Screenplay: **[[Yumi Yoshiyuki]] (''[[Housekeeper with Beautiful Skin: Made Wet with Finger Torture]]'', etc.) * Best Actress: **[[Yumika Hayashi]] (''[[Lunch Box (film)|Lunch Box]]'', etc.) **Yumeka Sasaki (''[[Twitch – You Are My Toy]]'', etc.) * Best Actor: **Kōji Makimura (''[[Wife Taxi: Crowded with Big Tits]]'', etc.) **Masayoshi Nogami (桃尻姉妹 恥毛の香り, etc.) * Best New Director: **[[Tetsuya Takehora]] (''[[Picture Book of a Beautiful Young Girl: Soaked Uniform]]'', etc.) * Best New Actress: **[[Lemon Hanazawa]] (''[[Lunch Box (film)|Lunch Box]]'', etc.) **[[Sora Aoi]] (''[[Tsumugi]]'') **Emi Kitagawa (処女花嫁 初めての悦び, etc.) **Sayaka Kitagawa (乱痴女 美脚フェロモン, etc.) * Technical Award: **Masahide Iioka (Cinematography: ''[[Twitch – You Are My Toy]]'', etc.) * Special Award: **Not given ==2005== =="Ten Best" films== 1. {{nihongo|'''''[[ Frog Song|Paid Companionship Story: Girls Who Want to Do It]]''''' ''aka'' '''''Frog Song'''''|[[援助交際物語 したがるオンナたち]]|[[Enjo-Kōsai Monogatari: Shitagaru Onna-tachi'' ([[Shinji Imaoka]]; Kokuei / Shintōhō) |2. Blind Love (2005 film)|Blind Love]]'''''|[[わいせつステージ 何度もつっこんで]]|[[Waisetsu Suteeji: Nando mo Tsukkonde'' (Daisuke Goto; Kokuei / Shintōhō) 3. {{nihongo|'''''[[ Chikan Densha: Suggestive Indecent Hips]]'''''|[[痴漢電車 挑発する淫ら尻]]|[[Chikan Densha: Chōhatsusuru Midara Shiri'' ([[Naoyuki Tomomatsu]]; Shintōhō)   4. {{nihongo|'''''[[ Lustful Hitchhiker: Sought Wife]]'''''|[[欲情ヒッチハイク 求めた人妻]]|[[Yokujō Hitchihaiku: Motometa Hitozuma'' ([[Tetsuya Takehora]]; OP Eiga) 5. {{nihongo|'''''[[ Miss Peach: Peachy Sweetness Huge Breasts]]'''''|[[ミスピーチ 巨乳は桃の甘み]]|[[Misu Piichi: Kyonyū wa Momo no Umami'' ([[Yumi Yoshiyuki]]; OP Eiga) 6. {{nihongo|'''''[[ Older Office Lady: Using Her Seductive Tongue]]'''''|[[年上のOL 悩ましい舌使い]]|[[Toshiue no OL: Nayamashii Shita Tsukai'' ([[Yumi Yoshiyuki]]; OP Eiga) 7. {{nihongo|'''''[[ Lustful Wife in Black: Aching]]'''''|[[欲情喪服妻 うずく]]|[[Yokujōmōfukutsuma: Uzuku'' ([[Minoru Kunizawa]]; OP Eiga) 8. {{nihongo|'''''[[ Hard Lesbian: Quick and Deep]]'''''<br>''aka'' '''''Coming Out'''''|[[ハードレズビアン クイック&ディープ}} (Osamu Sato; Shintōhō) 9. {{nihongo|'''''[[ |'''''Snake that Makes the Wife Moist: Extreme SM Compilation'''''|[[人妻を濡らす蛇 -SM至極編-]]|[[Hitozuma wo Nururasu Hebi: SM Shigokuhen'' ([[Yutaka Ikejima]]; OP Eiga) 10. {{nihongo|'''''[[ |'''''The Snake that Makes the Kimono's Underwear Moist: SM Compilation'''''|[[襦袢を濡らす蛇 -SM開華編-]]|[[Jaban wo Nururase Hebi: SM Kaikahen'' ([[Yutaka Ikejima]]; OP Eiga) Honorable Mention. {{nihongo|'''''[[ |''''' |[[援交性態ルポ 乱れた性欲| ([[Tetsuya Takehora]]; OP Eiga) ==Personnel awards== * Best Director: **[[Tetsuya Takehora]] (''[[Lustful Hitchhiker: Sought Wife]]'', etc.) * Best Screenplay: **Kiminori Komatsu (''[[Lustful Hitchhiker: Sought Wife]]'', etc.) * Best Actress: **[[Konatsu (actress)|Konatsu]] (''[[Frog Song|Paid Companionship Story: Girls Who Want to Do It]]'', etc.) **[[Lemon Hanazawa]] (美肌教師 巨乳バイブ責め, etc.) * Best Actor: **Yūya Matsūra (痴漢電車 ゆれて密着お尻愛, etc.) **Kōji Makimura ({{nihongo|'''''[[|''The Snake that Makes the Kimono's Underwear Moist: SM Compilation''|襦袢を濡らす蛇 -SM開華編-]]|[[Jaban wo nururase hebi: SM kaikahen}}, etc.) **Mutsuo Yoshioka (SEXマシン 卑猥な季節, etc.) * Best New Actress: **[http://pinkeiga.com/HTML/Actresses/kyoko_natsume.html Kyōko Natsume] ({{nihongo|'''''[[|''[http://pinkeiga.com/HTML/ComingOut.html Coming Out]''|ハードレズビアン クイック&ディープ}}, etc.) **[[Rinako Hirasawa]] (''[[Frog Song|Paid Companionship Story: Girls Who Want to Do It]]'', etc.) **Kozue Ikeda (肉体秘書 パンスト濡らして, etc.) **Aki Yafuji (美肌教師 巨乳バイブ責め, etc.) * Technical Award: **Kiichi Katō (Music: ''[[Miss Peach: Peachy Sweetness Huge Breasts]]'', etc.) * Special Award: **[[Yumika Hayashi]] (Career Award for Achievement as an Actress) * No Best New Director Award was given this year ==2006== The 19th ceremony.<ref name="Walkerplus-19th"/> =="Ten Best" films== 1. {{nihongo|'''''[[ Fascinating Young Hostess: Sexy Thighs]]'''''|[[悩殺若女将 色っぽい腰つき]]|[[Nōsatsu waka-okami: iroppoi koshitsuki'' ([[Tetsuya Takehora]]; OP Eiga) |2. Miss Hotel Call Girl: Healing Induction]]'''''|[[ホテトル嬢 癒しの手ほどき]]|[[Hoterujō iyashi no te hodoki'' ([[Tetsuya Takehora]]; OP Eiga) 3. {{nihongo|'''''[[ Hostess Madness: Unparched Nectar]]'''''|[[ホスト狂い 渇かない蜜汁]]|[[Hosuto kurui: kawakanai mitsu-jiru'' ([[Yutaka Ikejima]]; OP Eiga) 4. {{nihongo|'''''[[ Beautiful Lesbian Sisters: On the Day of Mourning...]]'''''|[[美姉妹レズ 忌中の日に…]]|[[Bishimai rezu: kichū no nichi ni....'' (Daisuke Yamanouchi; Xces) 5. {{nihongo|'''''[[ Shōwa Erotic Romance: The Virgin's Bashfulness]]'''''|[[昭和エロ浪漫 生娘の恥じらい]]|[[Shōwa ero rōman: kimusume no hajirai'' ([[Yutaka Ikejima]]; OP Eiga) 6. {{nihongo|'''''[[ Mature Woman: Wife-Hunting]]'''''|[[熟女 人妻狩り]]|[[Jukujō: hitotsuma karu'' ([[Yutaka Ikejima]]; Shintōhō) 7. {{nihongo|'''''[[ Big Tit Sisters: Blow Through the Valley]]'''''|[[巨乳な姉妹~谷間に吸いつけ~]]|[[Kyonyū na shimai * tanima ni fuitsuke'' ([[Yumi Yoshiyuki]]; OP Eiga) 8. {{nihongo|'''''[[ Uncle's Paradise|Mighty Extreme Woman]]'''''<br>''aka'' '''''Uncle's Paradise''''']]|[[[[絶倫絶女|Zetsurin zetsujo'' ([[Shinji Imaoka]]; Kokuei / Shintōhō) 9. {{nihongo|'''''[[ Loose Woman: Getting Wet at Noon]]'''''<br>''aka'' '''''Dependence'''''|[[ふしだらな女 真昼に濡れる]]|[[Fushidara na onna mahiru ni nureru'' ([[Yūji Tajiri]]; Kokuei / Shintōhō) 10. {{nihongo|'''''[[ Three Naked Sisters: Lewdness]]'''''|[[裸の三姉妹 淫交]]|[[Hadaka no Sanshimai: Inkō'' (Yasufumi Tanaka; Shintōhō) Honorable Mention. {{nihongo|'''''[[ |'''''Mature Woman * Daughter: Group Sex'''''|[[熟母・娘 乱交]]|[[Jukujō*musume: rankō'' (Akira Fukamachi; Shintōhō) Honorable Mention. {{nihongo|'''''[[ |'''''Ecstasy Love Hotel: Another Happy Full-House Tonight'''''|[[ド・有頂天ラブホテル 今夜も、満員御礼]]|[[Do*uchōten rabuhoteru: konya mo, man'inorei'' (Kunihiko Matsuoka; Xces) ==Personnel awards== * Best Director: **[[Yutaka Ikejima]] (''[[Hostess Madness: Unparched Nectar]]'', etc.)  * Best Screenplay: **Kiminori Komatsu (''[[Fascinating Young Hostess: Sexy Thighs]]'', etc.) * Best Actress: **[[Minami Aoyama]] (''[[Uncle's Paradise|Mighty Extreme Woman]]'', etc.) **Erina Aoyama ({{nihongo|'''''[[|''[[Miss Hotel Call Girl: Healing Induction]]''|ホテトル嬢 癒しの手ほどき|Hoterujō iyashi no te hodoki}}, etc.)  **[[Akiho Yoshizawa]] (''[[Fascinating Young Hostess: Sexy Thighs]]'') * Best Actor: **[[Shirō Shimomoto]] (''[[Uncle's Paradise|Mighty Extreme Woman]]'', etc.)  **Mutsuo Yoshioka (''[[Uncle's Paradise|Mighty Extreme Woman]]'', etc.)  * Best New Director: **Yasufumi Tanaka ({{nihongo|'''''[[|''Naked Three Sisters: Lewdness''|裸の三姉妹 淫交|Hadaka no sanshimai: inkō}}) * Best New Actress: **Yuria Hidaka (''[[Beautiful Lesbian Sisters: On the Day of Mourning...]]'', etc.) **Itsuka Harusaki (''[[Shōwa Erotic Romance: The Virgin's Bashfulness]]'', etc.)  **Erina Aoyama ({{nihongo|'''''[[|''[[Miss Hotel Call Girl: Healing Induction]]''|ホテトル嬢 癒しの手ほどき|Hoterujō iyashi no te hodoki}}, etc.) **[[Mayura Hoshitsuki]] ({{nihongo|'''''[[|''Newlywed's Sex Education: The Uniform's Bride''|新婚性教育 制服の花嫁|Shinkon Seikyōiku: Seifuku no Hanayome}}) * Technical Award: **Yūwa Sō (Cinematography: ''[[Fascinating Young Hostess: Sexy Thighs]]'', etc.) * Special Award: **Actress: [[Yumika Hayashi]] (Yōsensha Co., Director: Kiichirō Yanashita)  ==2007== The 20th ceremony.<ref name="biglobe 20th"/> =="Ten Best" films== 1. {{nihongo|'''''[[ Molester's Train: Sensitive Fingers]]'''''|[[痴漢電車 びんかん指先案内人]]|[[Chikan Densha: Binkan Yubi Saki Annai Nin'' ([[Yoshikazu Katō]]; OP Eiga) |2. Adultery Addiction: Sensual Daze]]'''''|[[不倫中毒 官能のまどろみ]]|[[Furinchūdoku: Kannō no Madoromi'' ([[Yumi Yoshiyuki]]; OP Eiga) 3. {{nihongo|'''''[[ Temptation: Eating Me]]'''''|[[誘惑 あたしを食べて]]|[[Yūwaku: Atashi wo Tabete'' (Osamu Sato; Shintōhō) 4. {{nihongo|'''''[[ Aching Wives: Continuous Adultery]]'''''|[[うずく人妻たち 連続不倫]]|[[Uzuku Hitozumatachi: Renzokufurin'' (Akira Fukuhara; Shintōhō) 5. {{nihongo|'''''[[ |'''''Naked Queen: Angel's Hame-Feeling'''''|[[裸の女王 天使のハメ心地]]|[[Hadaka no Jo-ō: Tensai no Hamekokochi'' (Yasufumi Tanaka; Shintōhō) 6. {{nihongo|'''''[[ Company President's Secretary: Hunting Big Tit Sexual Harassment]]'''''|[[社長秘書 巨乳セクハラ狩り]]|[[Shachōhisho: Kyonyū Sekuharakari'' (Kuninori Yamazaki; OP Eiga) 7. {{nihongo|'''''[[ Lewd Priest: Playful Writing on a Woman's Body]]'''''|[[ワイセツ和尚 女体筆いじり]]|[[Waisetsu Oshō: Nyotai Fudeijiri'' (Shigeo Moriyama; OP Eiga) 8. {{nihongo|'''''[[ Fascinating Woman: The Temptation of Creampie]]'''''|[[奪う女 中出しの誘惑]]|[[Ubau Onna: Nakadashi no Yūwaku'' ([[Yutaka Ikejima]]; OP Eiga) 9. {{nihongo|'''''[[ New Tokyo Decadence – The Slave]]'''''|[[奴隷]]|[[Dorei'' [(Osamu Sato; Shintōhō) 9. {{nihongo|'''''[[(tie) The Sticky Taste of a Peach-Skinned Proprietess]]'''''|[[桃肌女将のねばり味]]|[[Momo Hada Okami no Nebari Aji'' ([[Tetsuya Takehora]]; OP Eiga) Honorable Mention. {{nihongo|'''''[[ Widow Apartment: Big Tits' Aching Night]]'''''|[[未亡人アパート 巨乳のうずく夜]]|[[Mibōjin Apaato: Kyonyū no Uzuku Yoru'' ([[Yumi Yoshiyuki]]; OP Eiga) ==Personnel awards== * Best Director: **[[Yoshikazu Katō]] (''[[Molester's Train: Sensitive Fingers]]'', etc.) **[[Shinji Imaoka]] (いくつになってもやりたい男と女) * Best Screenplay: **Hideo Jojo (''[[Molester's Train: Sensitive Fingers]]'') * Best Actress: **[[Rinako Hirasawa]] (''[[New Tokyo Decadence – The Slave]]'', etc.) **[[Sakurako Kaoru]] (''[[Adultery Addiction: Sensual Daze]]'', etc.) **Mayuko Sasaki (''[[Aching Wives: Continuous Adultery]]'', etc.) * Best Actor: **[[Yutaka Ikejima]] ({{nihongo|'''''[[|''[[Company President's Secretary: Hunting Big Tit Sexual Harassment]]''|社長秘書 巨乳セクハラ狩り]]|[[Shachōhisho: kyonyū sekuharakari}}, etc.)      **Tomohiro Okada (''[[Aching Wives: Continuous Adultery]]'', etc.) * Best New Director: **Akira Fukuhara (''[[Aching Wives: Continuous Adultery]]'') * Best New Actress: **Rina Yūki ({{nihongo|'''''[[|''Naked Queen: Angel's Hame-Feeling''|裸の女王 天使のハメ心地]]|[[Hadaka no jo-ō: tensai no hamekokochi}}, etc.) **Yūka Osawa (痴女教師 またがり飲む, etc.) **Miki Arakawa (''[[Molester's Train: Sensitive Fingers]]'', etc.) * Technical Award: **Shōji Shimizu (Cinematography: ''[[Aching Wives: Continuous Adultery]]'', etc.) * Special Award: **PG Yoshiyuki Hayashida (For Reaching the "Pink Prize" 20th Anniversary) ==2008== The 21st ceremony, scheduled for June 20, 2009.<ref>{{cite web |url=http://www2u.biglobe.ne.jp/~p-g/pinkfes/21pinkfes.htm|title=第21回ピンク大賞 (21st Pink Grand Prix)|accessdate=2009-05-23|publisher=[http://www2u.biglobe.ne.jp/~p-g/menu.htm P*G Website]|language=Japanese}} {{Dead link|date=October 2010|bot=H3llBot}}</ref> =="Ten Best" films== 1. {{nihongo|'''''[[ 超いんらん やればやるほどいい気持ち|Chō Inran: Yarebayaruhodo Iikimochi'' ([[Yutaka Ikejima]]; Shintōhō) |2. |<!-- ''''' '''''<br> -->'''''[[Nakagawa Jun Kyōju no Inbina Hibi]]'''''|[[中川准教授の淫びな日々}} Kunihiko Matsuoka; Xces) 3. {{nihongo|'''''[[ Impure Uniform: Writhing Thighs]]'''''|[[不純な制服 悶えた太もも]]|[[Fujunna Seifuku: Modaeta Futomomo'' ([[Tetsuya Takehora]]; OP Eiga) 4. {{nihongo|'''''[[ 半熟売春 糸ひく愛汁|Hanjuku Baishun: Itohiku Aishiru'' ([[Yutaka Ikejima]]; OP Eiga) 5. {{nihongo|'''''[[ Continuous Adultery 2: A Portrait of Incest between Sisters]]'''''|[[連続不倫II 姉妹相姦図]]|[[Renzoku furin II: Shimai Sōkanzu'' (Akira Fukuhara; Shintōhō) 6. {{nihongo|'''''[[ Best Friend's Wife: The Black Panties of a Secret Rendezvous]]'''''|[[親友の妻 密会の黒下着]]|[[Shinyū no Tsuma: Mitsukai no Kuroshitagi'' ([[Yutaka Ikejima]]; OP Eiga) 7. {{nihongo|'''''[[ 悶々不倫 教え子は四十路妻]]|[[Monmon Furin: Oshiego wa Yosoji Tsuma'' (Tarō Araki; OP Eiga) 8. {{nihongo|'''''[[ 獣になった人妻]]|[[Kedomono ni Natta Hitozuma'' (Hajime Satō; Shintōhō) 9. {{nihongo|'''''[[ Molester's Train: Melody of Wriggling Fingers]]'''''|[[痴漢電車 うごめく指のメロディ]]|[[Chikan Densha: Ugomeku Yubi no Merodi'' ([[Tetsuya Takehora]]; OP Eiga) 10. {{nihongo|'''''[[ おひとりさま -三十路OLの性-]]|[[Ohitorisama: Sanjūrō OL no Sei'' (Masanori Kudō; Xces) |Honorable mention Female Prisoner Ayaka: Tormenting and Breaking in a Bitch]]'''''|[[女囚アヤカ いたぶり牝調教]]|[[Joshū Ayaka: Itaburi Mesu Chōkyō'' ([[Naoyuki Tomomatsu]]; OP Eiga) ==Personnel awards== * Best Director: **[[Yutaka Ikejima]] ({{nihongo|'''''[[2|超いんらん やればやるほどいい気持ち]]|[[Chō inran: yarebayaruhodo iikimochi}}, etc.) * Best Screenplay: **Daisuke Gotō ({{nihongo|'''''[[2|超いんらん やればやるほどいい気持ち]]|[[Chō inran: yarebayaruhodo iikimochi}} * Best Actress: **[[Riri Kōda]] ({{nihongo|'''''[[2|超いんらん やればやるほどいい気持ち]]|[[Chō inran: yarebayaruhodo iikimochi}}, etc.) **Yuria Hidaka ({{nihongo|'''''[[2|超いんらん やればやるほどいい気持ち]]|[[Chō inran: yarebayaruhodo iikimochi}}, etc.) * Best Actor: **Seiji Nakamitsu (''[[Best Friend's Wife: The Black Panties of a Secret Rendezvous]]'', etc.) **Takashi Naha (''[[Nakagawa Jun Kyōju no Inbina Hibi]]'', etc.) * Best New Actress: **[[Maki Tomoda]] (''[[Best Friend's Wife: The Black Panties of a Secret Rendezvous]]'', etc.) **Aya (''[[Impure Uniform: Writhing Thighs]]'', etc.) **[[Asami Miyajima|Asami]] (''[[Female Prisoner Ayaka: Tormenting and Breaking in a Bitch]]'', etc.) * Technical Award: **Kazumi Ōba (Music: ({{nihongo|'''''[[2|超いんらん やればやるほどいい気持ち|Chō inran: yarebayaruhodo iikimochi}}, etc.) * Special Award: **[[Yutaka Ikejima]] (For completing his 100th film as a director) ==2009== The 22nd ceremony =="Ten Best" films== 1. {{nihongo|'''''[[ 壺姫ソープ ぬる肌で裏責め]]|[[Tsubo Hime Sōpu: Nuru Hada de Urazeme'' ([[Yoshikazu Katō]]; OP Eiga) |2. Maid-Droid]]'''''|[[老人とラブドール 私が初潮になった時]]|[[Rōjin to Rabudōru: Watashi ga Shochō ni Natta Toki'' ([[Naoyuki Tomomatsu]]; Xces) 3. {{nihongo|'''''[[ わいせつ性楽園 おじさまと私]]|[[Waisetsu Seirakuen: Ojisama to Watashi'' ([[Naoyuki Tomomatsu]]; OP Eiga) 4. {{nihongo|'''''[[ 三匹の奴隷]]|[[Sanbiki no Dorei'' Tsukasa Satō; Shintōho) 5. {{nihongo|'''''[[ エッチな襦袢 濡れ狂う太もも]]|[[Ecchi na Juban: Nure Kurū Futomomo'' ([[Yutaka Ikejima]]; OP Eiga) 6. {{nihongo|'''''[[ 本番オーディション やられっぱなし]]|[[Honban Ōdishon: Yarareppanashi'' (Tsukasa Satō; Shintōhō) 7. {{nihongo|'''''[[ 裸身の裏顔 ふしだらな愛]]|[[Rashin no Uragao: Fushidarana Ai'' ([[Yumi Yoshiyuki]]; OP Eiga) 8. {{nihongo|'''''[[ Cousin White Paper: Aching Mature Lewdness]]'''''|[[いとこ白書 うずく淫乱熱]]|[[Itoko Hakusho: Uzuku Inran Netsu'' ([[Tetsuya Takehora]]; OP Eiga) 9. {{nihongo|'''''[[ アラフォー離婚妻 くわえて失神]]|[[Arafō Rikontsuma: Kuwaete Shisshin'' ([[Yumi Yoshiyuki]]; OP Eiga) 10. {{nihongo|'''''[[ 淫乱ひだのおく]]|[[Inran Hida no Oku'' (Akira Fukamachi; Shintōhō) |Honorable mention 男で愛して、女でも愛して 盗まれた情火]]|[[Otoko de Aishite, Onna demo Aishite: Nusumareta Jōka'' (Kunihiko Matsuoka; Xces) ==Personnel awards== * Best Director: **[[Naoyuki Tomomatsu]] (''[[Maid-Droid]]'', etc.) * Best New Director: **Takashi Ogawa ({{nihongo|'''''[[2|小川隆史}}) ({{nihongo|'''''[[2|社宅妻 ねっとり不倫漬け}}, etc.) * Best Screenplay: **Chisato Ōgawara ({{nihongo|'''''[[2|大河原ちさと}}) (''[[Maid-Droid]]'', etc.) * Best Actress: **[[Asami Sugiura|Asami]] ({{nihongo|'''''[[|''Sanbiki no Dorei''|三匹の奴隷}}, etc.) **[[Minami Aoyama]] ({{nihongo|'''''[[|''Tsubo Hime Sōpu: Nuru Hada de Urazeme''|壺姫ソープ ぬる肌で裏責め}}, etc.) * Best Actor: **Masayoshi Nogami ({{nihongo|'''''[[2|野上正義}}) (''[[Maid-Droid]]'', etc.) **Seiji Nakamitsu ({{nihongo|'''''[[2|なかみつせいじ}}) ({{nihongo|'''''[[|''Tsubo Hime Sōpu: Nuru Hada de Urazeme''|壺姫ソープ ぬる肌で裏責め}}, etc.) **Takahiro Nomura ({{nihongo|'''''[[2|野村貴浩}}) ({{nihongo|'''''[[|''Ecchi na Juban: Nure Kurū Futomomo''|エッチな襦袢 濡れ狂う太もも}}, etc.) * Best New Actress: **[[Kaho Kasumi]] (''[[Cousin White Paper: Aching Mature Lewdness]]'', etc.) **Nao Masaki ({{nihongo|'''''[[2|真咲南朋}}) ({{nihongo|'''''[[|''Sanbiki no Dorei''|三匹の奴隷}}, etc.) * Technical Award: **Ichimi Ōba ({{nihongo|'''''[[2|大場一魅}}) ({{nihongo|'''''[[|''Ecchi na Juban: Nure Kurū Futomomo''|エッチな襦袢 濡れ狂う太もも}}, etc.) * Special Award: ** Ueno Ōkura Theater

When Women LieEdit

http://www.imdb.com/title/tt0057630/ http://www.imdb.com/title/tt0057630/fullcredits#cast Uso (1963)

http://www.jmdb.ne.jp/1963/cm001120.htm


http://www.jmdb.ne.jp/1963/cm001130.htm 嘘 第二話 社用2号

http://www.jmdb.ne.jp/1963/cm001140.htm 嘘 第三話 三女体

http://www.kinejun.jp/cinema/id/21036

嘘(1963)(邦画 ) 嘘(1963) (うそ)| When Women Lie| ---- (ウソ)

http://www.entermeitele.net/roadshow/sakuhin/?id=21001

WP Roman Porno articles in progressEdit

Seduction of the White Angel Edit

Ō ō Ū ū

links:

Seduction of the White Angel 白い天使の誘惑 Shiroi tenshi no yūwaku

      • POSTER IMAGE URL***
Seduction of the White Angel
File:Seduction of the White Angel.jpg
Theatrical poster for Seduction of the White Angel (1972)
Directed by Katsuhiko Fujii[1]
Written by Kazuo Nishida
Starring Yūko Katagiri
Cinematography Yoshihiro Yamazaki
Editing by Shinya Inoue
Distributed by Nikkatsu
Released February 19, 1972
Running time 70 min.

Seduction of the White Angel (白い天使の誘惑 Shiroi tenshi no yūwaku) is a 1972 Japanese film in Nikkatsu's Roman porno series, directed by Katsuhiko Fujii and starring Yūko Katagiri.

SynopsisEdit

Weisser[p.372] > SEDUCTION OF THE WHITE ANGEL (1972) [Shiroi Tenshi No Yuwaku] director: Katsuhiko Fujii Yuko Katagiri • Miki Hayashi • Masayoshi Nogami • Yoshio Adachi Nikkatsu

> SEDUCTION 2: EMBRACE OF THE WHITE ANGEL (1972) [Shiroi Tenshi No Hoyo: Yuwaku 2] director: Katsuhiko Fujii Yuko Katagiri • Hidemi Hara • Hijime Tanimoto • Tetsuo Komatsu Nikkatsu

In #1 [Seduction of The White Angel], country nurse Yuri (Yuko Katagiri, fresh from the popular

[p.373]

Coed Report series) moves to a bigtime hospital in Tokyo. She is infatuated with staff doctor Oda (Masayoshi Nogami) and goes out with him, but quickly learns the ropes when the physician date-rapes her. The next day, Yuri learns another lesson after she accidentally interrupts the good doctor as he's having sex on the operating table with coworker Saeko. Meanwhile, Yuri's childhood friend (Yoshio Adachi) is admitted to the hospital with a fatal disease. Nurse Yuri feels especially sorry for him, mostly because he's still a virgin. So that night, the girl sneaks into his bed and allows him to experience his first (and probably last) sexual climax. For the loosely based sequel [Embrace Of The White Angel], Yuko Katagiri plays Fuyuko, a nurse in love with Tani (Hijime Tanimoto), a handsome surgeon at the same hospital. While out on a date in Tani's sportscar, they accidentally run over somebody. Instead of calling the cops, they try to work out a private settlement with the victim. It seems the injured guy wants to bof Fuyuko to seal the agreement. Without much hesitation, Tani consents because he's grown tired of Fuyuko and, on top of that, he's been secretly carrying on with Kumiko, the daughter of the hospital CEO. After the "carnal backseat negotiation," Tani dumps Fuyuko and makes his intentions towards Kumiko known. But, in typical soap-opera fashion, the new girlfriend has a serious illness and dies on the operating table. Once again, Tani goes to Fuyuko for affection but she doesn't take him back. Instead she seeks out the accident victim and starts dating him. These two films were the first of many nurse oriented pink films from Nikkatsu studios. In retrospect, they're better than many of the later ones (e.g., Nurses' Journal: Nasty File [1980] or White Uniform Story: Violated [1984]) because, if nothing else, director Fujii at least made an attempt to create fresh and - in some cases likable characters. He continued making pinku eiga for the studio until the mid '80s; he's best known for a string of interchangeable S&M flicks (i.e., Rope Slave [1981] and Sister Flesh Slave [1976] et al); Fujii isn't a bad director, he's just not motivated beyond the basic minimum requirements.


CastEdit

  • Yūko Katagiri: Yuri Maekawa[2]
  • Miki Hayashi: Saeko Ozaki
  • Masayoshi Nogami: Dr. Oda
  • Maki Kishimoto: Eiko Nakamoto
  • Yoshio Adachi: Kōji Ōya
  • Ikunosuke Koizumi: Dr. Okabe
  • 館一彦: Hamano
  • Mikiko Sakai: Head Nurse Sano
  • Keisuke Yukioka: Hospital director

BackgroundEdit

Weisser[p.97] CRUELTY: BLACK ROSE TORTURE (1975) [Zankoku: Kurobara Lynch] alternate title: CRUELTY: BLACK ROSE SLAVE Fujii manages to capitalize on his attraction to dark cinema {as intimated by his mean-spirited Seduction Of The White Angel (1972)}, turning it into a long-term career.

[p.229] LEGEND OF THE SEX THIEF IN EDO (1973) [Ohedo Seito-den Onnagiri] director: Katsuhiko Fujii Setsuko Ogawa • Hideaki Ezumi • Hitomi Kozue • Junko Miyashita Nikkatsu

Katsuhiko Fujii is a second-string Nikkatsu director who made a lot of B-features and SM erotica for that company throughout the '70s. He's also the only director who had the opportunity of working with all four of the first wave Nikkatsu idols (e.g., Kazuko Shirakawa in Apartment Wife: Mid-Afternoon Love Affair [1972], Yuko Katagiri in Seduction Of The White Angel [also '72], Naomi Tani in Cruelty: Black Rose Torture [1975], and Setsuko Ogawa in the Eros Schedule Book sequels and, of course, this film).

[p.258] LUSTFUL ROOM IN AN APARTMENT (1969) [Koshoku Mansion] director: Kinya Ogawa Miki Hayashi • Koji Satomi Ohkura Eiga

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Miki Hayashi was making sex movies back-to-back during the late 60s (Sweet Wedding Night [1968], Abnormal Rape [1968] and Blooming Woman's Body [1969] to name but three). She later became part of Nikkatsu's pink movie line-up in the '70s, but unfortunately for her, by then she was considered too old for the genre. Her parts were relegated to co-starring roles for the films Seduction Of The White Angel (1972) and Foreigner's Mistress Omani: Falling Autumn Flower (1972).


[p.293] NIGHT SPOT: DRIFTING FLOWER (1972) Actress Katagiri is one of Nikkatsu's first starlets, initially premiering in a couple nubile sex-grinders, Coed Report: Yuko's White Breasts and Coed Report: Blooming Yuko (both 1971). On the other hand, Night Spot: Drifting Flower is an obvious attempt to groom the girl for more serious parts, but with maturity she looses her most endearing quality: her high-spirited, tempestuous, youthful personality. Although, Ms Katagiri still looks terrific in the buff, there's nothing remarkable about her performance when she's got clothes on. Seemingly, Nikkatsu recognized this problem

[p.294]

and, for the future, Yuko was relegated to non-stretch roles, playing mostly a young rape victim (e.g., Seduction Of The White Angel [1972]).

Critical appraisalEdit

BibliographyEdit

EnglishEdit
JapaneseEdit

NotesEdit

{{Japanese erotic cinema}} {{CinemaofJapan}} [[Category:1972 films]] [[Category:1970s pornographic films]] [[Category:Erotic films]] [[Category:Japanese films]] [[Category:Japanese-language films]] [[Category:Nikkatsu films]] [[Category:Pink films]] {{Japan-film-stub}} [[ja:白い天使の誘惑]] *********** Shiroi tenshi no yūwaku #Redirect [[Seduction of the White Angel]] *********** ====Rationale for use on Wikipedia in the article [[Seduction of the White Angel]]==== {{Navbox |name = Filmr |title = [[Wikipedia:Non-free content|Non-free film-related media rationale]] |above = '''Rationale for fair use in '''''[[Seduction of the White Angel]]''''' |group1 = Description: |list1 = <div> Poster for ''[[Seduction of the White Angel]]'' (1972). </div> |group2 = Source: |list2 = <div> * ***POSTER IMAGE URL*** <br> ©1972 [[Nikkatsu]] </div> |group3 = Rationale for use on Wikipedia: |list3 = <div> 1.No free equivalent exists that would effectively identify the article's subject.<br> 2.The image does not in any way limit the ability of the copyright owners to market or sell their product.<br> 3.The image is only used once and is rendered in low resolution to avoid piracy.<br> 4.The image has been published outside Wikipedia; see source above.<br> 5.The image meets general Wikipedia content requirements and is encyclopedic.<br> 6.The image meets Wikipedia's media-specific policy.<br> 7.The image is used in the article wiki-linked in the section title.<br> 8.The image is significant in identifying the subject of the article, which is the film or film character itself.<br> 9.The image is used in the article namespace.<br> 10.The image has a brief description that identifies the image, notes the source, and provides attribution to the copyright holder. </div> |group4 = Resolution: |list4 = <div> The copy is of sufficient resolution for commentary and identification but lower resolution than the original. Copies made from it will be of inferior quality, unsuitable as artwork on pirate versions or other uses that would compete with the commercial purpose of the original artwork. </div> |group5 = Replaceable?: |list5 = <div> As a film poster, the image is not replaceable by free content; any other image that shows the images from the movie poster would also be copyrighted, and any version that is not true to the original would be inadequate for identification or commentary. </div> |group6 = Compatibility with Wikipedia?: |list6 = <div> Use of the film poster in the article complies with [[Wikipedia:Non-free content|Wikipedia non-free content policy]] and [[Fair use|fair use under United States copyright law]] as described above. </div> }} ==== Same information, repeated for bots ==== {{Non-free poster}} ==== Summary ==== Poster to the film ''[[Seduction of the White Angel]]'' (1972). ======Fair use rationale====== # This image is used to represent the film and illustrate how it was promoted during its original theatrical release. # It is of much lower resolution than the original (copies made from it will be of=2 0very inferior quality). # It does not limit the copyright owner's rights to market or sell the work in any way. # The image is being used in an informative way and should not detract from the original work. # No free or public domain images have been located for this item. ====Source==== * ***POSTER IMAGE URL*** ==== Licensing ==== {{Non-free poster}} ©1972 [[Nikkatsu]] ==== More justification to fend off needless deletion ==== ==== Licensing ==== {{Non-free poster}} ==== Fair use image data ==== {{Non-free image data |Description = Poster of Seduction of the White Angel. |Source = ***POSTER IMAGE URL*** |Portion = Film poster only. |Low_resolution = Sufficient resolution for illustration, but considerably lower resolution than original. |other_information = Intellectual property owned by {{#if: [[Nikkatsu]]| [[Nikkatsu]]| ***POSTER IMAGE URL***}}. }} ==== Fair use rationale ==== {{Non-free image rationale |Article = Seduction of the White Angel |Purpose = Used for purposes of critical commentary and illustration in an educational article about the film.<br>The poster is used as the primary means of visual identification of this article topic. |Replaceability = Protected by copyright, therefore a free use alternative won't exist. }} [[Category:Film poster images]]

Wet Lust: 21 Strippers Edit

Ō ō Ū ū

links:

REPLACE: Wet Lust: 21 Strippers 濡れた欲情 特出し21人 Nureta yokujō: tokudashi 21-nin

      • POSTER IMAGE URL***
Wet Lust: 21 Strippers
File:Wet Lust: 21 Strippers.jpg
Theatrical poster for Wet Lust: 21 Strippers (1974)
Directed by Tatsumi Kumashiro[1]
Produced by Rō Miura
Written by Tatsumi Kumashiro
Kōji Kamoda
Starring Yūko Katagiri
Music by Noboru Yoda
Cinematography Shinsaku Himeda
Editing by Akira Suzuki
Distributed by Nikkatsu
Released January 3, 1974
Running time 77 min.

Wet Lust: 21 Strippers (濡れた欲情 特出し21人 Nureta yokujō: tokudashi 21-nin) aka Wet Desire: Special Appearance 21 People is a 1974 Japanese film in Nikkatsu's Roman porno series, directed by Tatsumi Kumashiro and starring Yūko Katagiri.

SynopsisEdit

Weisser[p.495]

WET LUST: 21 STRIPPERS (1974) [Nureta Yokujo: Tokudashi 21-nin) director: Tatsumi Kumashiro Yuko Katagiri • Yoshinori Furukawa • Meika Seri • Bunmei Tobayama Nikkatsu

      • 1/2

Here's a loose continuation of director Kumashiro's 1972 hit, Ichijo's Wet Lust with a few major exceptions. Stripper Sayuri Ichijo, the star of the first Wet Lust, is replaced by a team of 21 exotic dancers and, surprisingly, a more experimental even arty - script execution. Tatsumi Kumashiro, perhaps impassioned by a string of highly complimentary reviews from some very tough critics (especially for Lovers Are Wet, Yakuza Goddess: Lust And Honor and Woods Are Wet: Woman Hell [all 1973]) with strong boxoffice numbers to match, contin- [p.496]

ues exploring the outer perimeters of linear story-telling. In early 1973 he experimented with "free form" narration for his Man And Woman Behind The Fusuma Screen, completely obliterating the traditional concept of "time" in the cinematic structure. Here, for this film, he tackles an even more complex game involving both time and place. The locale often changes from scene to scene with little warning to the audience. The action shifts wildly among characters as the director unravels a series of seemingly unrelated vignettes. In an attempt to add cohesion to this fantasy world, the director uses Bunmei Tobayama (playing a character named Bunmei Tobayama) as a member of an improvisational theater who acts as an omnipresent "master of ceremonies" sometimes with his own wicked agenda in mind. Stuffed between all the edits and blind alleys, the story follows the exploits of an Osaka pimp, Hosuke (Yoshinori Furukawa). Early on, he finds somebody's wallet containing a large amount of money. This stroke of luck allows him to move uptown, out of the seedy Kamagasaki ghetto. There (or somewhere else, maybe), he meets a stripper/prostitute named Meiko (Meika Seri), and she begins turning tricks for him. Meanwhile, another stripper, Yuko (Yuko Katagiri), runs away from a traveling girlie show. Seemingly, she's looking for her old boyfriend Hosuke (yes, the same one who is now hawking tail in downtown Osaka). Eventually their paths cross. She joins the pimp and Meiko. This troupe travels from club to club with the girls star in a lesbian strip show. After many nights of stage sex, Meiko and Yuko become very close in their personal lives, deciding to dump Houske and continue by themselves. But complications arise when Yuko discovers that she pregnant (apparently for the sake of the story - Hosuke is the father, but God knows, it could've been any number of men). Meiko convinces Yuko to go through with their desertion plan, swearing that she will support the girl during the pregnancy. This is a remarkable comeback performance from Yuko Katagiri, on the heels of Nikkatsu's decision to "phase her out."' She attacks this role with a kind of determination which had been sorely lacking since her premiere features of '71. Unlike her unconvincing theatrics in previous melodramatic endeavors (e.g., Delinquent Girl: Alleycat In Heat (1973) et al), this time Katagiri doesn't rely on the cliched naivete. For the first time in a very long while, she becomes a real character with a wide range of sensations and sentiment to match. Of course, much of the credit must be given to director Kumashiro for extracting such a unique performance from the actress. The filmmaker continues basking in enthusiastic praise from the media. And audiences delighted in his purposely ambiguous story. 'Ms Katagiri was once a major pink starlet for Nikkatsu, featured in numerous films since her debut, Coed Report: Yuko's White Breasts in 1971, but her inability to grow as a performer relegated her to stereotypical roles (i.e., "young naive girl in a compromising position") which had begun to show signs of age as she, too, was growing older. Just prior to this film, Ms Katagiri had been demoted to fourth billing in the credits for Sex Education Mistresses (1973); she was originally slated to be a 'feature plaver" this time around, that is, until the executives saw the rushes. Yuko Katagiri, once again, saw top billing.

Sharp, p. 139 Like many of Kumashiro's films, Street of Joy uses extra-diagetic devices tha tinclude sequences of cartoon sketches to establish and situtate its characters, as well as using traditional and popular enka songs, which are often reprised by characters in the film singing or humming them without musical accompaniment. Wet Desire: Special Appearance 21 People (1974) adopted a similarly freeform approach to what might otherwise be a f airly straightforward narrative, by jumbling up time a nd location with sequences marked off by intertitles bearing legends such as "Then was Now" and "Now is Then". As well as cutting and reinter-cutting abruptly from the present action to related flashbacks of past events as the straightforward narrative is relayed through the memories and experiences of its principal players, Kumashiro also blurs the boundaries between character and performer by having his two main actresses, Yuko Katagiri and Meika Seri, playing under names that are either t heir own, or very similar. The film is ostensibly a follow-up to Sayuri Ichijo: Wet Lust (1972), and just like it, focuses on the off-stage lives, loves and rivalries of contemporary sex performers, though in this case we have a whole entourage of exotic dancers, with the drama revolving around the blonde-wigged Yuko (Katagiri), her dance partner Meiko (Seri), their manager-cum-lover Housuke and the various characters that surround them. Housuke's first chance meeting with Meiko occurs shortly after the discovery of a wallet stuffed with money on the streets of Osaka; Meiko and the money allow Housuke to expand his pimping enterprise into staging lavish live nude shows. The two travel around the country with the latter honing her act in a theatre in Touhoku prefecture, and Housuke taking an active role in coaching Meiko's routine. Eventually they are joined by Yuko, a former lover of Housuke, and the two girls are soon gaining notoriety for their steamy lesbian stage show. But tensions mount within this bizarre love triangle when Yuko and Meiko's routine starts spilling into real life.

CastEdit

  • Yūko Katagiri: Yūko[2]
  • Asuka Seri: Meiko
  • Moeko Ezawa: Mayu
  • Tesshō Furukawa: Yoshisuke
  • Bunmei Tobayama: Himself
  • Akira Takahashi: Eikichi
  • Gō Awazu: Osamu
  • Ai Yoshino: Sayuri
  • Takarada Troupe: Dancing girls
  • Yachiyo Azuma: Dancing girl

Critical appraisalEdit

AvailabilityEdit

Wet Lust: 21 Strippers was released theatrically in Japan on January 3, 1974.[1] It was released to home video in VHS format in February 1997.[3]

BibliographyEdit

EnglishEdit
JapaneseEdit

NotesEdit

{{Tatsumi Kumashiro}} {{Japanese erotic cinema}} {{CinemaofJapan}} [[Category:1974 films]] [[Category:1970s pornographic films]] [[Category:Erotic films]] [[Category:Films directed by Tatsumi Kumashiro]] [[Category:Japanese films]] [[Category:Japanese-language films]] [[Category:Nikkatsu films]] [[Category:Pink films]] {{Japan-film-stub}} *********** Nureta yokujō: tokudashi 21-nin #Redirect [[Wet Lust: 21 Strippers]] *********** ====Rationale for use on Wikipedia in the article [[Wet Lust: 21 Strippers]]==== {{Navbox |name = Filmr |title = [[Wikipedia:Non-free content|Non-free film-related media rationale]] |above = '''Rationale for fair use in '''''[[Wet Lust: 21 Strippers]]''''' |group1 = Description: |list1 = <div> Poster for ''[[Wet Lust: 21 Strippers]]'' (1974). </div> |group2 = Source: |list2 = <div> * ***POSTER IMAGE URL*** <br> ©1974 [[Nikkatsu]] </div> |group3 = Rationale for use on Wikipedia: |list3 = <div> 1.No free equivalent exists that would effectively identify the article's subject.<br> 2.The image does not in any way limit the ability of the copyright owners to market or sell their product.<br> 3.The image is only used once and is rendered in low resolution to avoid piracy.<br> 4.The image has been published outside Wikipedia; see source above.<br> 5.The image meets general Wikipedia content requirements and is encyclopedic.<br> 6.The image meets Wikipedia's media-specific policy.<br> 7.The image is used in the article wiki-linked in the section title.<br> 8.The image is significant in identifying the subject of the article, which is the film or film character itself.<br> 9.The image is used in the article namespace.<br> 10.The image has a brief description that identifies the image, notes the source, and provides attribution to the copyright holder. </div> |group4 = Resolution: |list4 = <div> The copy is of sufficient resolution for commentary and identification but lower resolution than the original. Copies made from it will be of inferior quality, unsuitable as artwork on pirate versions or other uses that would compete with the commercial purpose of the original artwork. </div> |group5 = Replaceable?: |list5 = <div> As a film poster, the image is not replaceable by free content; any other image that shows the images from the movie poster would also be copyrighted, and any version that is not true to the original would be inadequate for identification or commentary. </div> |group6 = Compatibility with Wikipedia?: |list6 = <div> Use of the film poster in the article complies with [[Wikipedia:Non-free content|Wikipedia non-free content policy]] and [[Fair use|fair use under United States copyright law]] as described above. </div> }} ==== Same information, repeated for bots ==== {{Non-free poster}} ==== Summary ==== Poster to the film ''[[Wet Lust: 21 Strippers]]'' (1974). ======Fair use rationale====== # This image is used to represent the film and illustrate how it was promoted during its original theatrical release. # It is of much lower resolution than the original (copies made from it will be of=2 0very inferior quality). # It does not limit the copyright owner's rights to market or sell the work in any way. # The image is being used in an informative way and should not detract from the original work. # No free or public domain images have been located for this item. ====Source==== * ***POSTER IMAGE URL*** ==== Licensing ==== {{Non-free poster}} ©1974 [[Nikkatsu]] ==== More justification to fend off needless deletion ==== ==== Licensing ==== {{Non-free poster}} ==== Fair use image data ==== {{Non-free image data |Description = Poster of Wet Lust: 21 Strippers. |Source = ***POSTER IMAGE URL*** |Portion = Film poster only. |Low_resolution = Sufficient resolution for illustration, but considerably lower resolution than original. |other_information = Intellectual property owned by {{#if: [[Nikkatsu]]| [[Nikkatsu]]| ***POSTER IMAGE URL***}}. }} ==== Fair use rationale ==== {{Non-free image rationale |Article = Wet Lust: 21 Strippers |Purpose = Used for purposes of critical commentary and illustration in an educational article about the film.<br>The poster is used as the primary means of visual identification of this article topic. |Replaceability = Protected by copyright, therefore a free use alternative won't exist. }} [[Category:Film poster images]]

Love Bandit Nezumi Kozo Edit

links: http://www.nikkatsu-romanporno.com/

XCes http://www.shinnihoneizo.co.jp/

REPLACE: Love Bandit Nezumi Kozo 性盗ねずみ小僧 Seitō Nezumi Kozō

      • ROMANPORNO.COM URL***
      • ROMANPORNO.COM TITLE***
      • PRODUCER***
      • EDITING***
Love Bandit Nezumi Kozo
Love Bandit Nezumi Kozo
Theatrical poster for Love Bandit Nezumi Kozo (1972)
Directed by Chūsei Sone[1]
Produced by ***PRODUCER***
Written by Kazuhiko Hasegawa
Starring Setsuko Ogawa
Hiroshi Gojo
Music by Hiroki Tamaki
Cinematography Masaru Mori
Editing by ***EDITING***
Distributed by Nikkatsu
Released January 29, 1972
Running time 67 min.

Love Bandit Nezumi Kozo (性盗ねずみ小僧 Seitō Nezumi Kozō) is a 1972 Japanese film in Nikkatsu's Roman porno series, directed by Chūsei Sone and starring Setsuko Ogawa
Hiroshi Gojo.

SynopsisEdit

Weisser [p.56] (1)Nezumi Kozo (The Rat Man) is a legendary character in Japanese history, similar to Robin Hood. Rat Man also steals from the rich and gives to the poor. Nikkatsu made a pink film with this superhero thief in 1972 called Love Bandit Rat Man, directed by Chusei Sone {see separate listing}.

p.248 LOVE BANDIT RAT MAN (1972) or LOVE BANDIT NEZUMI KOZO [Seitou Nezumi Kozo] director: Chusei Sone Setsuko Ogawa • Hiroshi Gojo Nikkatsu

Parody tale of notorious Edo-period Robin Hood named Nezumi Kozo (Rat Man), a thief who robs from the rich and showers the money on the poor. In this entry, he's also a drunkard who sometimes forgets why he's broken into the house in the first place. This is especially true if there's a pretty girl to be seduced. Most parodies, by their very nature, tend to be comedies. This one has the dubious distinction of being a tragedy (perhaps a vivid example of Seijun Suzuki's influence on his former first unit director, Chusei Sone). Regardless, this film ends with Mouse getting framed by his friend, the chief of police, and beheaded in the city square. The script is written by Kazuhiko Hasegawa, a popular novelist who later became a cult director (Murderer Of Youth (Seishun No Satsujinsha) 1976). This film is very unlike the vast number of other Nikkatsu pink films, as it is more concerned with story and characters. Director Sone takes a number of chances with this film. Despite the dark tone, he adds a decidedly "manga touch" by including purposely out-of-sync situations (i.e., like a movie theater on the streets of historic Edo). Upon it's release, the movie met with mixed, in some cases hostile, response from the audience; today, it's considered a cult classic. [p.337] SETSUKO OGAWA While never really considered a Nikkatsu queen, Setsuko Ogawa was one of the studio's first idols, a girl with classic Japanese looks (i.e., high-boned facial features with a rounded full-figured body). Seemingly, Ms Ogawa was born to play traditional geisha parts and she made a lucrative career from it, allowing her innocent demeanor to be contrasted forever against a parade of sleazy Edo stories.

[4] Seitou Nezumi Kozo

Seitou Nezumi Kozo Year

Run Time 1972 Category

AKA

  • Love Bandit Rat Man

Director Chusei Sone AMG Work ID

V 233630

Plot Synopsis by Robert Firsching

This bizarre cult film from director Chusei Sone takes the Japanese version of the Robin Hood legend, centering on a roustabout thief called Rat Man, and throws in some healthy dollops of sex, surreal anachronisms, and a jarringly brutal conclusion to emerge as a genuinely unique interpretation. An early indication of Sone's distinctive visual style, the film benefits from a purposefully off-kilter vision of Edo-period Japan and a quirky screenplay from future cult filmmaker Kazuhiko Hasegawa. Pretty Setsuko Ogawa from the Irogoyomi Ooku Hiwa series and Hiroshi Gojoof Nikuyoku No Hirusagari star.

CastEdit

[5] おみつ ................  小川節子 次郎吉 ................  五條博 金四郎 ................  森竜哉 喜助 ................  浜口竜哉 側室 ................  牧恵子 おたか ................  高見由紀 中﨟 ................  瀬戸ユキ おきん ................  小森道子

Critical appraisalEdit

AvailabilityEdit

Love Bandit Nezumi Kozo was released theatrically in Japan on January 29, 1972.[1]


[6]


It was released on DVD in Japan on

, as part of Geneon's

wave of Nikkatsu Roman porno series.[7]


Template:Cite web

BibliographyEdit

EnglishEdit
JapaneseEdit

NotesEdit

{{Chūsei Sone}} {{Japanese erotic cinema}} {{CinemaofJapan}} [[Category:1972 films]] [[Category:1970s pornographic films]] [[Category:Erotic films]] [[Category:Films directed by Chūsei Sone]] [[Category:Japanese films]] [[Category:Japanese-language films]] [[Category:Nikkatsu films]] [[Category:Pink films]] {{Japan-film-stub}} [[ja:性盗ねずみ小僧]] *********** Seitō Nezumi Kozō #Redirect [[Love Bandit Nezumi Kozo]] *********** ====Rationale for use on Wikipedia in the article [[Love Bandit Nezumi Kozo]]==== {{Navbox |name = Filmr |title = [[Wikipedia:Non-free content|Non-free film-related media rationale]] |above = '''Rationale for fair use in '''''[[Love Bandit Nezumi Kozo]]''''' |group1 = Description: |list1 = <div> Poster for ''[[Love Bandit Nezumi Kozo]]'' (1972). </div> |group2 = Source: |list2 = <div> * http://www12.ocn.ne.jp/~nacky/yousei/yousei03.html <br> ©1972 [[Nikkatsu]] </div> |group3 = Rationale for use on Wikipedia: |list3 = <div> 1.No free equivalent exists that would effectively identify the article's subject.<br> 2.The image does not in any way limit the ability of the copyright owners to market or sell their product.<br> 3.The image is only used once and is rendered in low resolution to avoid piracy.<br> 4.The image has been published outside Wikipedia; see source above.<br> 5.The image meets general Wikipedia content requirements and is encyclopedic.<br> 6.The image meets Wikipedia's media-specific policy.<br> 7.The image is used in the article wiki-linked in the section title.<br> 8.The image is significant in identifying the subject of the article, which is the film or film character itself.<br> 9.The image is used in the article namespace.<br> 10.The image has a brief description that identifies the image, notes the source, and provides attribution to the copyright holder. </div> |group4 = Resolution: |list4 = <div> The copy is of sufficient resolution for commentary and identification but lower resolution than the original. Copies made from it will be of inferior quality, unsuitable as artwork on pirate versions or other uses that would compete with the commercial purpose of the original artwork. </div> |group5 = Replaceable?: |list5 = <div> As a film poster, the image is not replaceable by free content; any other image that shows the images from the movie poster would also be copyrighted, and any version that is not true to the original would be inadequate for identification or commentary. </div> |group6 = Compatibility with Wikipedia?: |list6 = <div> Use of the film poster in the article complies with [[Wikipedia:Non-free content|Wikipedia non-free content policy]] and [[Fair use|fair use under United States copyright law]] as described above. </div> }} ==== Same information, repeated for bots ==== {{Non-free poster}} ==== Summary ==== Poster to the film ''[[Love Bandit Nezumi Kozo]]'' (1972). ======Fair use rationale====== # This image is used to represent the film and illustrate how it was promoted during its original theatrical release. # It is of much lower resolution than the original (copies made from it will be of=2 0very inferior quality). # It does not limit the copyright owner's rights to market or sell the work in any way. # The image is being used in an informative way and should not detract from the original work. # No free or public domain images have been located for this item. ====Source==== * http://www12.ocn.ne.jp/~nacky/yousei/yousei03.html ==== Licensing ==== {{Non-free poster}} ©1972 [[Nikkatsu]] ==== More justification to fend off needless deletion ==== ==== Licensing ==== {{Non-free poster}} ==== Fair use image data ==== {{Non-free image data |Description = Poster of Love Bandit Nezumi Kozo. |Source = http://www12.ocn.ne.jp/~nacky/yousei/yousei03.html |Portion = Film poster only. |Low_resolution = Sufficient resolution for illustration, but considerably lower resolution than original. |other_information = Intellectual property owned by {{#if: [[Nikkatsu]]| [[Nikkatsu]]| http://www12.ocn.ne.jp/~nacky/yousei/yousei03.html}}. }} ==== Fair use rationale ==== {{Non-free image rationale |Article = Love Bandit Nezumi Kozo |Purpose = Used for purposes of critical commentary and illustration in an educational article about the film.<br>The poster is used as the primary means of visual identification of this article topic. |Replaceability = Protected by copyright, therefore a free use alternative won't exist. }} [[Category:Film poster images]]

Rape! 13th HourEdit

[8] [9] [10] [11] [12] [13] [14]

[15]

[16]

[17] Hasebe, Yasuharu. (1998). Interviewed by Thomas and Yuko Mihara Weisser in Tokyo, 1999, in Asian Cult Cinema, #25, 4th Quarter, 1999, p.32-42.


Ō ō Ū ū

Rape! 13th Hour レイプ25時 暴姦 Rape! 25-ji Boukan

Rape! 13th Hour
Directed by Yasuharu Hasebe[1]
Written by Yoshio Shirasaka
Chiho Katsura
Starring Yuri Yamashina
Yuudai Ishiyama
Akira Takahashi
Music by Yamanashi Taichi
Cinematography Masaru Mori
Editing by Akira Suzuki
Distributed by Nikkatsu
Released January 22, 1977
Running time 73 minutes

Rape! 13th Hour (レイプ25時 暴姦 Rape! 25-ji Boukan) is a 1977 Japanese film in Nikkatsu's Roman porno series, directed by Yasuharu Hasebe and starring Yuri Yamashina.

SynopsisEdit

A man sporting a red jacket seeks shelter at the gas station where he works. He is an anonymous serial rapist known as "Crimson" and is fleeing a vigilante group which has been pursuing him. "Crimson" and the younger gas station attendant later leave together and attack and rape a young ballerina. The incident has a life-altering affect on the younger man, who has now become addicted to rape. He also goes on a raping spree, and is joined with "Crimson" for further attacks. Together the men rape waitresses in an abandoned movie theater. Due to the inability of the police to catch the criminals, vigilante groups have been pursuing "Crimson". Eventually the duo are tracked down, captured and taken to an empty swimming pool by a homosexual gang. There the gang sodomizes "Crimson", bashes out his teeth with a hammer, and forces him to perform fellatio on them.[15][14][16]

CastEdit

Critical appraisalEdit

-- start article --

Nikkatsu had started its SM line of Roman porno films in 1974 with the hits Flower and Snake and Wife to Be Sacrificed both featuring actress Naomi Tani and directed by Masaru Konuma.[10] After this first highly successful venture into violence, the studio's output became increasingly rougher.[10] According to director Yasuharu Hasebe, by 1976 the studio was looking for a new direction, and contacted him to develop films in a "Violent Pink" style.[17] These would be comparable to the U.S. "roughies" film genre,[19] violent and misogynistic, but without the whips, bondage and other traditional accoutrements of the S&M genre.[12] Hasebe had worked with the studio in the 1960s during their "Nikkatsu Action" era, but was not comfortable with the pink film genre to which the studio had turned with the inception of the Roman porno series in 1971.[8] Reluctant to work in the sex film genre, Hasebe later recalled warning the studio, "Are you sure you want me?... You must be aware-- my craft is very bloody."[17]

Hasebe was hired, though, realizing that he might push the envelope of acceptability, Nikkatsu assigned producer Ryouji Itou to keep an eye on him. Hasebe had known Itou from his days with Nikkatsu in the 1960s, and they had worked well together.[20] In 1976 Hasebe turned out the box-office successes, Rape! and Assault! Jack The Ripper, and Nikkatsu assigned him more work in the genre.[17] The third of Hasebe's "Violent Pink" films,[1] Rape! 13th Hour has a reputation as the most extreme of the series.[9] The Weissers write that it is "graphically disturbing",[8] "incredibly savage",[11] "offensively appalling",[12] and that it was "long-considered the most offensive, the most grotesque movie of all time."[11] Hasebe later recalled with amusement that the studio had made a mistake in assigning Itou to watch over him, as it is this most extreme of the trio that was Itou's favorite.[20]

The controversy surrounding the film was similar to that in the U.S. following the release of I Spit on Your Grave a year later in 1978.[16]

In spite of the film's box-office success, because of the public and critical outcry over the film, Nikkatsu ordered that the extreme violence in future "Violent pink" films be curtailed.[13][16] The successful release of Kouyuu Ohara's Zoom Up: Rape Site, released late in 1979, returned the genre to Hasebe's original "ultra-violent" vision.[21]

Rape! 13th Hour is sometimes interpreted as an allegorical commentary on the state of Japanese cinema in the mid-1970s.[16]

In their Japanese Cinema Encyclopedia: The Sex Films, Thomas and Yuko Mihara Weisser give Rape! 13th Hour a rating of three-and-a-half out of four stars.[14] Allmovie notes of the film, "any point which Rape! 25-ji Bokan may have is lost in the barrage of sickening violence".[16]


It became popular in videotape.[16]


Jasper Sharp gives the film a negative appraisal, calling it the poorest of Hasebe's films that he discusses in his Behind the Pink Curtain: The Complete History of Japanese Sex Cinema. He dismisses it as a "preposterous red-blooded macho fantasy".[15]


Over twenty years after the first release of the film, Japanese critics held the film in high regard, with Kinema Jumpo placing it on their 1999 list of the 200 best Japanese films of the 20th century.[22]


-- end article --



[14] Weisser [p.327] RAPE! 13th HOUR (1977) [Rape! 25-ji Boukan] translation: Rape! Hour 25:00 director: Yasuharu Hasebe Yuri Yamashina • Yuudai Ishiyama • Akira Takahashi • Sueto Tsukada Nikkatsu

      • 1/2

Often considered the most extreme example of the pink ultra-violence genre, this is a brutal outing from Yasuharu Hasebe, the same director as Rape! (1976). It's an immediate follow-up to his Assault! Jack The Ripper (late 1976). Hasebe, a filmmaker from Nikkatsu's pre-pinku eiga days, was never satisfied with [p.328] standard roman porn ventures, as exemplified by his Naked Seven, Sukeban Deka: Dirty Mary, et al. The studio's violent pink projects allowed him the most freedom and they are generally considered his best efforts {albeit highly controversial and recommended with some obvious reservations(1)}.

Despite the excessive sadism, the film is ripe with allegory. Some critics interpret the movie as Hasebe's personalized angry commentary on the decline of filmmaking in Japan (at least within the Nikkatsu machinery). For example, it's believed that character Ruriko is symbolic of Ruriko Asaoka, a starlet from the old Nikkatsu action-cinema days, and the rape inside a dilapidated movie theater becoming an obvious metaphor. Other critics, horrified by the unbridled cinematic savagery, found less artistic merit in the production.


Sharp 230 Which is more than one can say for the preposterous red-blooded macho fantasy of Rape: The 13th Hour (1977), undoubtedly the least of Hasebe's works under discussion. Aside from a few minor car chases and fistfights, what you see is pretty much what you get; a succession of Nikkatsu starlets, including Yuri Yamashina, Natsuko Yashiro, Naomi Oka and Rei Okamoto, ravished by an anonymous serial rapist (Yuudai Ishiyama) dressed in a conspicuous red leather jacket, and his young protege, a gas station attendant whom he meets when he is sheltered from three roughneck vigilantes in the opening scenes. After taking off in a white pickup truck, the two then break into the apartment of Yamashina's pretty young ballerina and assault her, before the rapist disappears off into the night. But the experience has a profound effect on the young man, and hey presto, a new sex offender is created overnight, as he takes to prowling around the local lover's lane with a monkey wrench in hand, looking for new victims, with his more experienced mentor later returning to spur him on. Made for those who purport to be turned on by women's bodies but feel far more at home in the company of men, the film adopts the format of the buddy movie, with the denuded bodies of the rapists' victims acting as proxies for any latent same-sex fantasies the audience might hold. To say it downplays the psychological effects of acts of sexual violence on the victim-- a possible defense for some of the films in the series-- would be a gross understatement. Cries of pain turn to yelps of pleasure as one violated girl clambers on top of her assailant and, in a ludicrous development, before he leaves gives him a wad of banknotes and an invitation to come back. The rape of the ballerina is staged to the strains of Swan Lake, with feathers from a shredded pillow swirling around her naked body like flurries of snow. The final scene almost seems like an apology for the onscreen outrages committed in the name of entertainment, as the two men are brought to justice by a gang of gay mobsters who sodomise one of them before bashing out his teeth with a lump hammer and forcing him to use his bloody mouth to fellate them. With such excesses, Nikkatsu soon found itself on the wrong side of the critics, and toned down its output for a short while.

Template:Cite web

Rape! 13th Hour Written by: Michael Den Boer on April 18th, 2008

Theatrical Release Dates: Japan, January 22nd, 1976 Director: Yasuharu Hasebe Writer: Chiho Katsura Cast: Yuudai Ishiyama, Tamaki Katsura, Rei Okamoto, Nahomi Oka, Akira Takahashi, Yuri Yamashina, Natsuko Yashiro

DVD released: September 21st, 2007 Approximate running time: 73 minutes Aspect Ratio: 2.35:1 Anamorphic Widescreen Rating: NR Sound: Dolby Digital mono Japanese Subtitles: N/A DVD Release: Geneon/Nikkatsu Region Coding: Region 2 NTSC Retail Price: 3800 yen Synopsis: A young man is befriended by a habitual sex maniac who passes on his obsession for violating women to his new pupil.

Director Yasuharu Hasebe started his career as an assistant director under the guidance of the legendary Seijun Suzuki. He worked his way into the director’s chair in 1966 with the film Black Tight Killers. He would direct three films in the highly influential series Stray Cat Rock (Delinquent Girl Boss, Sex Hunter and Machine Animal) and the last Female Prisoner Scorpion film (#701′s Grudge Song) for Toei. In the mid and later parts of the 1970’s Yasuharu Hasebe would go on to become one of the prominent director’s making Pinku Eiga films for Nikkatsu. Yasuharu Hasebe’s first three Pinku Eiga films Rape!, Assault! Jack The Ripper and Rape! 13th Hour where all box office hits for Nikkatsu.

The first three Pinku Eiga films from director Yasuharu Hasebe would push the envelope when it came to violence. Up to this most Pinku Eiga films where nowhere near as violent. Rape! 13th Hour has a simple plot where an experienced rapist finds himself an apprentice in which he can impart his knowledge too. The film has a sub plot which revolves around a gang of homosexuals whose leader desperately wants to have sex with the rapist and he even goes so far as to try to blackmail him. The younger apprentice rapist at first approaches these violations as more a voyeur before transforming into the role of the once held by his mentor.

The film features many diverse and interesting attacks on women including a voyeuristic scene of lovers screwing in the woods. The film is laced with homophobia and misogyny. The level of violence and brutality especially during the last ten minutes is general bloodless. One of the films more disturbing qualities is how the victims start to enjoy being sexually assaulted. Visually Rape! 13th Hour is a film which is filled with many first-rate sexual set pieces and at times the direction is very stylish. The apprentice carrying on where his mentor left off after his death suggests that the cycle is never ending. Rape! 13th Hour features a solid score mostly made up of classical and music played on a harpsichord.

Ultimately Rape! 13th Hour is a classic example of Pinku Eigu with grabs you by the throat and suffocates you with its bleak subject matter.

The DVD:

Rape! 13th Hour is presented in an anamorphic widescreen that preserves the film’s original 2.35:1 scope photography. The source material supplied for this transfer is in superb shape with problems with print damage and edge enhancement in minimal. The colors look strong throughout and flesh tones look accurate. For a film that was made over thirty years ago and had a limited run the transfer far exceeds all my expectations.

One audio option has been included for this release a Dolby Digital mono mix in Japanese. Unfortunately there are no English subtitles. The audio sounds clean and there are no audio defects. Dialog is clear and the mix sounds evenly balanced throughout.

Extras for this release are limited to the films original theatrical trailer (in Japanese) and a four page booklet which is also only in Japanese. Over the last few years Geneon has released hundreds of Nikkatsu’s Pinku Eiga films on DVD. All of them including, Rape! 13th Hour come with a solid audio/video presentation. The down side is the lack of English subtitles. Until a English friendly version of Rape! 13th Hour comes along Geneon DVD release is the best option currently available for those who want to see this film.

BackgroundEdit

Hasebe, Yasuharu. (1998). Interviewed by Thomas and Yuko Mihara Weisser in Tokyo, 1999, in Asian Cult Cinema, #25, 4th Quarter, 1999, p.32-42. [p.38] ACC: Regarding your own career, you have been both praised and criticized for your use of violence in films; specifically for Rape! (Okasu!), Assault! Jack the Ripper (Boko: Kirisaki Jack!) and Rape 13th Hour (Rape 25 -ji: Bokan). HASEBE: Yes, I was always being investigated by the Rating Board {called Eirin}-- not for sex but for the violence.

[p.39] ACC: I see. How did they finally convince you to make Pink Films? HASEBE: Well, Nikkatsu began their Pink direction in 1971 with Apartment Wife (Danchizuma Hirusagari No Joji). After five years, the audience had become bored with the concept. They wanted more than erotic tales of ordinary life. Nikkatsu realized it was time for change. They called me and asked if I would like to make my own style of Pink. I remember saying: "Are you sure you want me?" They replied, "Yes, come aboard." I said to them, "You must be aware- my craft is very bloody." Prior to that point, eros and blood did not go well together. But they were desperate for a new wave. So, I was faced with a decision to make: I could quit TV production and begin making movies again... if I agreed to make sex films. Honestly, at first, the idea wasn't very appealing. Then, both sides started talking, and Violent Pink was born. Fortunately, Rape! turned out to be a big hit. ACC: Then they assigned you to one Violent Sex film after another. HASEBE: In '76, I made three genre films back to back, Rape!, Assault! Jack The Ripper and Rape! 13th Hour. I'm not sure these were great films, but the ticket sales were remarkable. (Laugh) It was wonderful to be a busy, successful director again. ACC: Nikkatsu gave you great deal of freedom. But didn't critics feel you went too far with Rape! 13th Hour? HASEBE: I cannot recall the details, but maybe. It could naturally happen because when I got to that point, I was pretty much out of ideas. Nikkatsu knew that I was prone to get out of hand, so from the time I signed the contract, they instilled one safeguard.

[p.40]

They tagged me with Producer Ryoji Ito. His job was to keep his eye on me. I had known Ito from the Alleycat Rock days; back then he was my assistant director. Ito was younger than me, but he had become an excellent producer. We could communicate very well and enjoyed working together during the Violence Pink films. Anyway, you tell me Rape 13th Hour was out of control, but this remains one is Producer Ito's favorite. Ultimately, I guess the company misjudged our tagteam effect (laugh) That's why they had to go back and re-edit the film before theatrical distribution. Maybe that's also why the movie still hasn't been released on video.


ACC: I recently read a review of Rape! 13th Hour which interpreted the film as an allegory on the state of filmmaking in Japan. Was this an intentional element of the film? HASEBE: I don't know what you're talking about. Can you be specific? ACC: The girl who gets constantly raped is Ruriko. It is suggested that her name was taken from that of the old starlet Ruriko Asaoka, who represents Nikkatsu's golden era. Another symbol is the ruins of the movie theater, where the gay gangsters are nesting. Is this allegory intentional? HASEBE: Now that you mention it, I do remember some critics took it that way, but it wasn't my intention. I don't like to play those games within cinema. If such a thing exists in the movie, then it was a conspiracy between Producer Ito and Scripter Katsura.


AvailabilityEdit

Rape! 13th Hour was released theatrically in Japan on January 22, 1977.[1]


It was released on DVD in Japan on September 21, 2007, as part of Geneon's ninth wave of Nikkatsu Roman porno series.[23] This release employed a new master struck from the original negative, with scratches and flaws corrected. Extras included the original theatrical trailer and a four-person audio commentary.[24]

BibliographyEdit

EnglishEdit
JapaneseEdit

NotesEdit

{{Yasuharu Hasebe}} {{Japanese erotic cinema}} {{CinemaofJapan}} [[Category:1977 films]] [[Category:1970s pornographic films]] [[Category:Erotic films]] [[Category:Films directed by Yasuharu Hasebe]] [[Category:Japanese films]] [[Category:Japanese-language films]] [[Category:Nikkatsu films]] [[Category:Pink films]] {{Japan-film-stub}} [[ja:レイプ25時 暴姦]] *********** Rape! 25-ji Boukan #Redirect [[Rape! 13th Hour]] *********** ====Rationale for use on Wikipedia in the article [[Rape! 13th Hour]]==== {{Navbox |name = Filmr |title = [[Wikipedia:Non-free content|Non-free film-related media rationale]] |above = '''Rationale for fair use in '''''[[Rape! 13th Hour]]''''' |group1 = Description: |list1 = <div> Poster for ''[[Rape! 13th Hour]]'' (1977). </div> |group2 = Source: |list2 = <div> * http://www.grindhousedatabase.com/images/25ji_bokan_poster.jpg <br> ©1977 [[Nikkatsu]] </div> |group3 = Rationale for use on Wikipedia: |list3 = <div> 1.No free equivalent exists that would effectively identify the article's subject.<br> 2.The image does not in any way limit the ability of the copyright owners to market or sell their product.<br> 3.The image is only used once and is rendered in low resolution to avoid piracy.<br> 4.The image has been published outside Wikipedia; see source above.<br> 5.The image meets general Wikipedia content requirements and is encyclopedic.<br> 6.The image meets Wikipedia's media-specific policy.<br> 7.The image is used in the article wiki-linked in the section title.<br> 8.The image is significant in identifying the subject of the article, which is the film or film character itself.<br> 9.The image is used in the article namespace.<br> 10.The image has a brief description that identifies the image, notes the source, and provides attribution to the copyright holder. </div> |group4 = Resolution: |list4 = <div> The copy is of sufficient resolution for commentary and identification but lower resolution than the original. Copies made from it will be of inferior quality, unsuitable as artwork on pirate versions or other uses that would compete with the commercial purpose of the original artwork. </div> |group5 = Replaceable?: |list5 = <div> As a film poster, the image is not replaceable by free content; any other image that shows the images from the movie poster would also be copyrighted, and any version that is not true to the original would be inadequate for identification or commentary. </div> |group6 = Compatibility with Wikipedia?: |list6 = <div> Use of the film poster in the article complies with [[Wikipedia:Non-free content|Wikipedia non-free content policy]] and [[Fair use|fair use under United States copyright law]] as described above. </div> }} ==== Licensing ==== {{Non-free poster}}

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Ō ō Ū ū poster searches: ポスター http://umenichi.net8.jp/pc/ [[Category:Film poster images]] (default) [[Category:Images of video covers]] {{Non-free poster}} (default) {{Non-free video cover}} links: http://www.imdb.com/ http://www.allmovie.com/ http://www.citwf.com/ http://www.jmdb.ne.jp/ http://www.japanese-cinema-db.jp/index.php http://www.kinejun.jp/ http://www.allcinema.net/ http://www.nikkatsu-romanporno.com/ XCes http://www.shinnihoneizo.co.jp/ REPLACE: 2010-02-22 ***ENGLISH FILM NAME*** ***KANJI*** ***TRANSLITERATION*** ***RELEASE MONTH & DAY*** ***YEAR*** ***DECADE*** ***IMDB ID*** ***IMDB TITLE*** ***AMG ID*** ***AMG TITLE*** ***The Complete Index to World Film URL*** ***The Complete Index to World Film TITLE*** ***JMDB URL*** ***JMDB TITLE*** *** Japanese Cinema Database URL*** *** Japanese Cinema Database TITLE*** ***Kinema Junpo URL*** ***Kinema Junpo TITLE*** ***ALLCINEMA URL*** ***ALLCINEMA TITLE*** ***ROMANPORNO.COM URL*** ***ROMANPORNO.COM TITLE*** ***DIRECTOR*** ***WRITER*** ***PRODUCER*** ***STARRING*** ***RUNTIME*** ***MUSIC*** ***CINEMATOGRAPHY*** ***EDITING*** ***POSTER IMAGE URL*** {{Infobox Film | name = ***ENGLISH FILM NAME*** | image = ***ENGLISH FILM NAME***.jpg | image_size = | caption = Theatrical poster for ''***ENGLISH FILM NAME***'' (***YEAR***) | director = [[***DIRECTOR***]]<ref name="JCDB">{{cite web |url= *** Japanese Cinema Database URL***|title= *** Japanese Cinema Database TITLE***|accessdate=2010-02-22|publisher=[http://www.japanese-cinema-db.jp/index.php Japanese Cinema Database] ([[Agency for Cultural Affairs]])}}</ref> | producer = ***PRODUCER*** | writer = ***WRITER*** | narrator = | starring = ***STARRING*** | music = ***MUSIC*** | cinematography = ***CINEMATOGRAPHY*** | editing = ***EDITING*** | distributor = [[Nikkatsu]] | released = ***RELEASE MONTH & DAY***, ***YEAR*** | runtime = ***RUNTIME*** | country = Japan | language = Japanese | budget = | gross = | preceded_by = | followed_by = }} {{nihongo|'''''***ENGLISH FILM NAME***'''''|***KANJI***|***TRANSLITERATION***}} is a [[***YEAR*** in film|***YEAR***]] [[Japan]]ese film in [[Nikkatsu]]'s [[Pink film#The second wave (The Nikkatsu Roman Porno era 1971–1982)|''Roman porno'']] series, directed by [[***DIRECTOR***]] and starring ***STARRING***. ====Synopsis==== ====Cast==== ====Critical appraisal==== ====Availability==== ''***ENGLISH FILM NAME***'' was released theatrically in Japan on ***RELEASE MONTH & DAY***, ***YEAR***.<ref name="JCDB"/> <ref>{{cite web |url=http://www.amazon.co.jp/gp/product/ ***ASIN #*** /|title= |accessdate=2010-02-23|language=Japanese|publisher=[[Amazon.com]]}}</ref> It was released on DVD in Japan on , as part of [[Geneon Universal Entertainment|Geneon]]'s wave of Nikkatsu ''Roman porno'' series.<ref>{{cite web |archiveurl=http://web.archive.org/web/20080414223632/http://www2u.biglobe.ne.jp/~p-g/video/romanporno/romanporno.htm| archivedate= 2008-04-14 |url=http://www2u.biglobe.ne.jp/~p-g/video/romanporno/romanporno.htm|title=ジェネオン エンタテインメントよりDVDリリース|accessdate=2010-08-03|language=Japanese|publisher=[http://www2u.biglobe.ne.jp/~p-g/menu.htm P.G. Web Site]}}</ref> ====Bibliography==== ======English====== * {{Amg movie |***AMG ID*** |***AMG TITLE***}} * {{cite web |url=***The Complete Index to World Film URL***|title=***The Complete Index to World Film TITLE***|accessdate=2010-02-22|publisher=[[Complete Index to World Film]]}} * {{imdb title|***IMDB ID***|***IMDB TITLE***}} * {{cite book |last=Sharp|first=Jasper|title=Behind the Pink Curtain: The Complete History of Japanese Sex Cinema|year=2008|publisher=FAB Press|location=Guildford|isbn=978-1-903254-54-7}} * {{cite book |last=Weisser|first=Thomas|coauthors=Yuko Mihara Weisser|title=Japanese Cinema Encyclopedia: The Sex Films|year=1998|publisher=Vital Books : Asian Cult Cinema Publications|location=Miami|isbn=1-88928-852-7 }} ======Japanese====== * {{cite web |url=***ALLCINEMA URL***|title=***ALLCINEMA TITLE***|accessdate=2010-02-22|publisher=[http://www.allcinema.net/ www.allcinema.net]|language=Japanese}} * {{cite web |url= *** Japanese Cinema Database URL***|title= *** Japanese Cinema Database TITLE***|accessdate=2010-02-22|publisher=[http://www.japanese-cinema-db.jp/index.php Japanese Cinema Database] ([[Agency for Cultural Affairs]])|language=Japanese}} * {{cite web |url=***JMDB URL***|title=***JMDB TITLE***|accessdate=2010-02-22|language=Japanese|publisher=[[Japanese Movie Database]]}} * {{cite web |url= ***Kinema Junpo URL***|title= ***Kinema Junpo TITLE***|accessdate=2010-02-22|language=Japanese|publisher=[[Kinema Junpo]]}} * {{cite web |url=***ROMANPORNO.COM URL***|title= ***ROMANPORNO.COM TITLE***|accessdate=2010-02-22|publisher=[http://www.nikkatsu-romanporno.com/main.html www.nikkatsu-romanporno.com]|language=Japanese}} ====Notes==== {{reflist}} {{***DIRECTOR***}} {{Japanese erotic cinema}} {{CinemaofJapan}} {{DEFAULTSORT: }} [[Category:***YEAR*** films]] [[Category:***DECADE***s pornographic films]] [[Category:Erotic films]] [[Category:Films directed by ***DIRECTOR***]] [[Category:Japanese films]] [[Category:Japanese-language films]] [[Category:Nikkatsu films]] [[Category:Pink films]] {{Japan-film-stub}} [[ja:***KANJI***]] *********** ***TRANSLITERATION*** #Redirect [[***ENGLISH FILM NAME***]] *********** ====Rationale for use on Wikipedia in the article [[***ENGLISH FILM NAME***]]==== {{Navbox |name = Filmr |title = [[Wikipedia:Non-free content|Non-free film-related media rationale]] |above = '''Rationale for fair use in '''''[[***ENGLISH FILM NAME***]]''''' |group1 = Description: |list1 = <div> Poster for ''[[***ENGLISH FILM NAME***]]'' (***YEAR***). </div> |group2 = Source: |list2 = <div> * ***POSTER IMAGE URL*** <br> ©***YEAR*** [[Nikkatsu]] </div> |group3 = Rationale for use on Wikipedia: |list3 = <div> 1.No free equivalent exists that would effectively identify the article's subject.<br> 2.The image does not in any way limit the ability of the copyright owners to market or sell their product.<br> 3.The image is only used once and is rendered in low resolution to avoid piracy.<br> 4.The image has been published outside Wikipedia; see source above.<br> 5.The image meets general Wikipedia content requirements and is encyclopedic.<br> 6.The image meets Wikipedia's media-specific policy.<br> 7.The image is used in the article wiki-linked in the section title.<br> 8.The image is significant in identifying the subject of the article, which is the film or film character itself.<br> 9.The image is used in the article namespace.<br> 10.The image has a brief description that identifies the image, notes the source, and provides attribution to the copyright holder. </div> |group4 = Resolution: |list4 = <div> The copy is of sufficient resolution for commentary and identification but lower resolution than the original. Copies made from it will be of inferior quality, unsuitable as artwork on pirate versions or other uses that would compete with the commercial purpose of the original artwork. </div> |group5 = Replaceable?: |list5 = <div> As a film poster, the image is not replaceable by free content; any other image that shows the images from the movie poster would also be copyrighted, and any version that is not true to the original would be inadequate for identification or commentary. </div> |group6 = Compatibility with Wikipedia?: |list6 = <div> Use of the film poster in the article complies with [[Wikipedia:Non-free content|Wikipedia non-free content policy]] and [[Fair use|fair use under United States copyright law]] as described above. </div> }} ==== Licensing ==== {{Non-free poster}}


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