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Unlike many other books on pornography which concentrate on arguments about restricting or not restricting pornography, this book focuses on the production of adult videos. It outlines and examines the industrial dynamics of the industry, its strategies, technological capabilities and organisational structure. It discusses the socialisation of those who participate in the industry, the role of censorship, the nature of markets and the wider cultural impact of the industry.
This book explores censorship, particularly film and video censorship, in Japan in modern times. It shows how most censorship has been the film and video industry exercising self-censorship and how this system has been problematic in that it has allowed dominant players in the industry to impose their own standards and exclude independent filmmakers. It outlines notable obscenity cases and discusses how industry self-censorship bodies have been undermined both by industry outsiders setting up their own alternative regimes and by the industry self-censorship bodies themselves being prosecuted for obscenity. The book also examines the conflict between the obscenity law, introduced in Meiji times when Japan was importing Western models, and the freedom of speech law, which was put in place by the US occupation administration after World War II. The book concludes by assessing the current state of censorship in Japan and likely future developments.
Takes the reader on a wild joy ride deep into the hinterlands of Japanese culture, society and radical politics by way of the weird and wonderful world of the country's distinctive sex film movements. Focusing on one of the most notorious secrets of Japanese filmmaking, the erotic Pink Film (or pinku eiga) genre, Behind the Pink Curtain features numerous interviews with leading figures in the field and offers an exhaustive, yet colourful, trawl through Japan's most vibrant and prolific film sector.
Unlike many other books on pornography which concentrate on arguments about restricting or not restricting pornography, this book focuses on the production of adult videos. It outlines and examines the industrial dynamics of the industry, its strategies, technological capabilities and organisational structure. It discusses the socialisation of those who participate in the industry, the role of censorship, the nature of markets and the wider cultural impact of the industry.
The popularity of pornography is predicated on the idea that those participating have given their consent. That is what allows the porn industry to dominate the media economy today, generating staggering sums of money. Looking at behind-the-scenes negotiations and abuses in Japan's adult video industry, author Akiko Takeyama challenges this pervasive notion with the idea of "involuntary consent." This phenomenon, she argues, is ubiquitous, not only in the porn industry, but in our everyday lives. And yet modern society, built on beliefs of autonomy, free choice, and equality, renders it all but invisible. Japan's AV industry alone generates a conservatively estimated $5 billion a year. In recent years, it has drawn public attention, and criticism, because of a series of arrests and trials of former talent agency owners and executives. This led to a report calling for a systematic investigation of the industry over the issue of "forced performance." This report has had ripple effects beyond Japan, as the US Department of State subsequently also cited forced performance as a human rights violation. Using this moment as an entry point, Takeyama argues that contract-making writ large is based on fundamentally dualistic terms, implying consent and pleasure on the one hand, and coercion and pain on the other. Because sex workers are employed on a contract basis, they fall outside of the purview of standard labor and employment laws. As a result, they are frequently pressured to comply with what production companies (mostly run by men) expect and often demand. In this ethnography of Japan's porn industry, Akiko Takeyama investigates the paradox of involuntary consent in modern liberal democratic societies. Taking consent as her starting point, Takeyama illustrates the nuances of contract making and the legal structures, or lack thereof, that govern Japan's adult video and sex entertainment industries.
This book explores the roles cultural intermediaries play in East Asian cinema. Based on extensive original research, and viewing cinema from the social science perspective which emphasizes the social processes entailed in the cultural production, circulation, and consumption of films and the social relations they involve, rather than studying films as texts, the book examines issues such as the differences between individual and collective intermediaries, the diverse resources and services that they mediate, their social background and targeted audiences, and the political implications of their work. One important conclusion is that cultural intermediaries have been central to creating the whole "idea" of East Asian cinema.
This book explores censorship, particularly film and video censorship, in Japan in modern times. It shows how most censorship has been the film and video industry exercising self-censorship and how this system has been problematic in that it has allowed dominant players in the industry to impose their own standards and exclude independent filmmakers. It outlines notable obscenity cases and discusses how industry self-censorship bodies have been undermined both by industry outsiders setting up their own alternative regimes and by the industry self-censorship bodies themselves being prosecuted for obscenity. The book also examines the conflict between the obscenity law, introduced in Meiji times when Japan was importing Western models, and the freedom of speech law, which was put in place by the US occupation administration after World War II. The book concludes by assessing the current state of censorship in Japan and likely future developments.
In The End of Japanese Cinema Alexander Zahlten moves film theory beyond the confines of film itself, attending to the emergence of new kinds of aesthetics, politics, temporalities, and understandings of film and media. He traces the evolution of a new media ecology through deep historical analyses of the Japanese film industry from the 1960s to the 2000s. Zahlten focuses on three popular industrial genres: Pink Film (independently distributed softcore pornographic films), Kadokawa (big-budget productions as part of a transmedia strategy), and V-Cinema (direct-to-video films). He examines the conditions of these films' production to demonstrate how the media industry itself becomes part of the politics of the media text and to highlight the complex negotiation between media and politics, culture, and identity in Japan. Zahlten points to a different history of film, one in which a once-powerful film industry transformed into becoming only one component within a complex media-mix ecology. In so doing, Zahlten opens new paths for uncovering similar broad processes in other large media societies. A Study of the Weatherhead East Asian Institute, Columbia University
Pornography’s impact on transnational models of media aesthetics and governance has been well documented from a Euro-American perspective. This book contributes to the field of pornography studies by rethinking the cultural impact of pornography as audio-visual and online media from an East Asian perspective. It focuses on pornographies made and consumed in and across Japan, Korea, China, and Hong Kong. The chapters examine under-reported East Asian cultures of pornography, not only to uncover phenomena from within this region but also to challenge and fine-tune existing academic research networks and paradigms. This book proposes that the lived experience of producing and consuming various pornographies throughout East Asia may extend, nuance, challenge, or even affirm the dominant Euro-American understandings of pornography that are becoming increasingly axiomatic within pornography studies as an emerging interdisciplinary field of study. This book was originally published as a special issue of the journal Porn Studies.
This Companion is a comprehensive examination of the varied ways in which gender issues manifest throughout culture in Japan, using a range of international perspectives to examine private and public constructions of identity, as well as gender- and sexuality-inflected cultural production. The Routledge Companion to Gender and Japanese Culture features both new work and updated accounts of classic scholarship, providing a go-to reference work for contemporary scholarship on gender in Japanese culture. The volume is interdisciplinary in scope, with chapters drawing from a range of perspectives, fields, and disciplines, including anthropology, art history, history, law, linguistics, literature, media and cultural studies, politics, and sociology. This reflects the fundamentally interdisciplinary nature of the dual focal points of this volume—gender and culture—and the ways in which these themes infuse a range of disciplines and subfields. In this volume, Jennifer Coates, Lucy Fraser, and Mark Pendleton have brought together an essential guide to experiences of gender in Japanese culture today—perfect for students, scholars, and anyone else interested in Japan, culture, gender studies, and beyond.