Filmovi na pinku - iddinsyri

TV Program: Filmovi

Around 1970, the major studio started focusing almost exclusively on erotic content, but , another major film production company, started producing a line of what came to be known as Pinky Violence films. No, pravi vođa obitelji je grofica Antonija, jedina prava plemkinja u obitelji i nikako se ne odriče starih ideala.

Bed Partner 1988 was the final film of the venerable 17-year-old Roman Porno series. Berkeley, California: Stone Bridge Press. Starting with 1972 , the Scorpion series starred , who had left Nikkatsu Studios to distance herself from their Roman Porno series.

filmovi online sa prevodom - New Haven: Kinema Club. Archived from on 2011-07-10.

This encompasses everything from dramas to action thrillers and features. However, some writers have reserved the term 'pink film' for Japanese sex movies produced and distributed by smaller independent studios such as , , Kokuei and Xces. In this narrower sense, 's Roman Porno series, Toei's Pinky Violence series and the Tokatsu films distributed by Shochiku would not be included as these studios have much larger distribution networks. Until the early 2000s, they were almost exclusively shot on 35mm film. Recently, filmmakers have increasingly used video while retaining their emphasis on soft-core narrative. Many theaters swapped 35mm for video projectors and began relying on old videos to meet the demand of triple-feature showings. This article places the pink film in the larger context of postwar erotic cinema. Pink films became wildly popular in the mid-1960s and dominated the Japanese domestic cinema through the mid-1980s. In the 1960s, the pink films were largely the product of small, independent studios. Around 1970, the major studio started focusing almost exclusively on erotic content, but , another major film production company, started producing a line of what came to be known as Pinky Violence films. With their access to higher production values and talent, some of these films became critical and popular successes. Though the appearance of the led viewers to move away from pink film in the 1980s, films in this genre are still being produced. Indeed, one pubic hair breaks an unwritten but closely observed code. Though this last problem is solved by shaving the actresses, the larger remains: how to stimulate when the means are missing. The Japanese film ethics board Eirin has long enforced a ban on the display of genitals and pubic hair. To work around this censorship, most Japanese directors positioned props—lamps, candles, bottles, etc. The stultified impulse has created some extraordinary works of art, a few films among them. None of these, however, are found among eroductions. The first kiss to be seen in Japanese film—discreetly half-hidden by an umbrella—caused a national sensation in 1946. Although throughout the 1940s and early 1950s nudity in Japanese movie theaters, as in most of the world, was a taboo, some films from the mid-50s such as 's female pearl-diver films starring buxom , began showing more flesh than would have previously been imaginable in the Japanese cinema. Foreign films of this time, such as 's 1953 , 's 1958 , and 's 1959 introduced female nudity into international cinema, and were imported to Japan without problem. Nudity and sex officially entered Japanese cinema with 's controversial and popular independent production Nikutai no Ichiba, 1962 , which is considered the first true pink film. Made for 8 million yen, Kobayashi's independent feature film took in over 100 million yen. Kobayashi remained active in directing pink films until the 1990s. In 1964, maverick , theater and film director directed , a big-budget film distributed by the major studio Shochiku. Takechi's Black Snow 1965 , resulted in the director's arrest on charges of obscenity and a high-profile trial, which became a major battle between Japan's intellectuals and the establishment. Takechi won the lawsuit, and the publicity surrounding the trial helped bring about a boom in the production of pink films. Though Japan's major studios, such as and made occasional forays into erotica in the 1960s, such as director 's 1964 —the first mainstream Japanese film to contain nudity, the majority of erotic films were made by the independents. Among the most influential independent studios producing pink films in this era were Shintōhō Eiga the second studio to use this name , , Kantō, and. Typically shown on a three-film program, these films were made by these companies to show at their own chain of specialty theaters. Another major pink film studio, Wakamatsu Studios, was formed by director in 1965, after quitting Nikkatsu. His most controversial early films dealing with misogyny and sadism are 1966 , 1967 , and 1969. In 1965, the same year as Wakamatsu became independent, directors Kan Mukai and established their own production companies—Mukai Productions and Aoi Eiga. Other major Sex Queens of the first wave of pink film included , Mari Iwai, Keiko Kayama, and Miki Hayashi. Other pink film stars of the era include Tamaki Katori, who appeared in many films for Giichi Nishihara and Kōji Wakamatsu; Kemi Ichiboshi, whose specialty was playing the role of a violated innocent; and Mari Nagisa. Younger starlets like , and were starting their careers and already making names for themselves in the pink film industry, but are best remembered today for their work with Nikkatsu during the 1970s. At the beginning of the 1970s, now losing their audiences to television and imported American films, Japan's major film studios were struggling for survival. Most of Toei's films in this style used eroticism in conjunction with violent and action-filled stories. Several of these films have the theme of strong women exacting violent revenge for past injustices. The series was launched with the Delinquent Girl Boss Zubeko Bancho films starring. Other series in the Pinky Violence genre included 's Girl Boss films, and the films, both starring and. Other examples of Toei's films in this genre include 's Sasori Scorpion series of based on 's. Starting with 1972 , the Scorpion series starred , who had left Nikkatsu Studios to distance herself from their Roman Porno series. Toei also set the standard for Japanese films a subgenre imported from Italy with the critically acclaimed 1974 directed by. Toei also produced a whole series of erotic samurai pictures such as Bohachi Bushido: Clan of the Forgotten Eight Bōhachi Bushidō: Poruno Jidaigeki 1973. Nikkatsu Roman Porno See also: and In 1971 Takashi Itamochi, president of Nikkatsu, Japan's oldest major film studio, decided to stop his own company's involvement with action films and start making sexploitation films. Like Toei, Nikkatsu had made some previous films in the sexploitation market, such as Story of Heresy in Meiji Era 1968 and Tokyo Bathhouse 1968 , which featured over 30 sex-film stars in cameo appearances. Nikkatsu launched its in November 1971 with , starring. Director says that the process of making Roman Porno was the same as that of making a pink film except for the higher budget. Nikkatsu made these higher-quality pink films almost exclusively, at an average rate of three per month, for the next 17 years. Nikkatsu gave its Roman porno directors a great deal of artistic freedom in creating their films, as long as they met the official minimum quota of four nude or sex scenes per hour. The result was a series that was popular both with audiences and with critics. One or two Roman Pornos appeared on the top-ten lists of Japanese critics every year throughout the run of the series. Nikkatsu's higher-quality sex films essentially took the pink film market away from the smaller, independent studios until the mid-1980s, when began to lure away much of the pink film's clientele. Kumashiro directed a string of financial and critical hits unprecedented in Japanese cinematic history, including 1972 and 1979 , starring. The subgenre of the Roman Porno was established in 1974 when the studio hired to star in based on an novel , and , both directed by Masaru Konuma. As early as 1982 the AVs had already attained an approximately equal share of the adult entertainment market with theatrical erotic films. In 1984, new government censorship policies and an agreement between the Japanese film-rating board and the pink-film companies added to Nikkatsu's difficulties by putting drastic new restrictions on theatrical films. Theatrical pink movie profits dropped 36% within a month of the new ruling. Eirin dealt a serious blow to the pink film industry in 1988 by introducing stricter requirements for sex-related theatrical films. Nikkatsu responded by discontinuing their Roman Porno line. Bed Partner 1988 was the final film of the venerable 17-year-old Roman Porno series. Nikkatsu continued to distribute films under the name Ropponica, and pink films through Excess Films, however these were not nearly as popular or critically respected as the Roman Porno series had been in its heyday. By the end of the 1980s, adult videos had become the main form of adult cinematic entertainment in Japan. All three were veterans of the pink film industry since the 1960s. Coming to prominence in the 1980s, a time when the theatrical porn film was facing considerable difficulties on several fronts, this group is known for elevating the pink film above its low origins by concentrating on technical finesse and narrative content. By the time Nakamura joined Nikkatsu in 1983, he had already directed over 100 films. Some of Nakamura's later pink films were directed in collaboration with , and Hitoshi Ishikawa under the group pseudonym Go Ijuin. Nevertheless, even in this most difficult period for the pink film, the genre never completely died out, and continued exploring new artistic realms. So long as the director provided the requisite number of sex scenes, he was free to explore his own thematic and artistic interests. Three of the most prominent pink film directors of the 1990s, , and all made their directorial debuts in 1989. A fourth, , debuted in 1985. Coming to prominence during one of the most precarious times for the pink film, these directors worked under the assumption that each film could be their last, and so largely ignored their audience to concentrate on intensely personal, experimental themes. These directors even broke one of the fundamental pink rules by cutting down in the sex scenes in pursuit of their own artistic concerns. Their films display individualistic styles and introspective character indicative of the insecurity of Japan's post-bubble generation. Founded in 1989, the Pink Grand Prix has become a yearly highlight for the pink film community by awarding excellence in the genre and screening the top films. The 2000s have seen a significant growth in international interest in the pink film. Director Mitsuru Meike's 2003 made an impression in international film festivals and gained critical praise. In 2008 a company called was formed with the sole purpose of releasing pink films on DVD in the U. The following is a partial listing. Hochi Film Award Mainstream film award. Currently the major pink film award ceremony. Founded 1989, covers 1988—present. The awards continued to at least 1994. Since no listing of the awards seems to be presently available, the following scattered references are what items can be gleaned from the web. Japanese Cinema Encyclopedia: The Sex Films. Behind the Pink Curtain: The Complete History of Japanese Sex Cinema. A Hundred Years of Japanese Film: A Concise History. For a time, almost half of the annual film production figures released in Japan were composed of these hour-long mini-features. Archived from on 2004-11-18. Since the mid-1960s, pink eiga have been the biggest Japanese film genre... By the late 1970s the production of pink eiga together with Roman Porno amounted to more than 70% of annual Japanese film production. Archived from on 2004-11-18. A Lateral View: Essays on Culture and Style in Contemporary Japan. Berkeley, California: Stone Bridge Press. But it did not come into general use until the late 1960s. In the early years the films were known as 'eroduction films' erodakushon eiga or 'three-million-yen-films' sanbyakuman eiga. Japanese Cinema Encyclopedia: The Sex Films. Miami: Vital Books: Asian Cult Cinema Publications. Archived from on 2007-07-02. The Japanese Eroduction pp. The Japanese Eroduction p. Pink Samurai: An Erotic Exploration of Japanese Society; The Pursuit and Politics of Sex in Japan Paperback ed. The Japanese Film: Art and Industry Expanded ed. Princeton, New Jersey: Princeton University Press. Gregory Barrett translator , ed. Currents in Japanese Cinema paperback ed. Archived from on 2012-07-19. The resultant obscenity trial... Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema. Bloomington and Indianapolis: Indiana University Press. Archived from on 2007-04-26. Behind the Pink Curtain: The Complete History of Japanese Sex Cinema. The Japanese Eroduction, p. Toei's Bad Girl Cinema booklet to DVD set The Pinky Violence Collection. TokyoScope: The Japanese Cult Film Companion. San Francisco: Cadence Books. Interviewed by Weisser, Thomas and Yuko Mihara Weisser. However—from the creator's side—there was no difference between the making of Roman Porn and Pink. Pink Samurai: An Erotic Exploration of Japanese Society; The Pursuit and Politics of Sex in Japan Paperback ed. World Cinema Since 1945. New York: The Ungar Publishing Company. University of California Press. Archived from PDF on 2007-03-04. Magill's Survey of Cinema: Foreign Language Films; Volume 4. Interviewed by Thomas and Yuko Mihara Weisser in Tokyo, 1999, in Asian Cult Cinema, 25, 4th Quarter, 1999, p. It is often said that as long as you deliver so many sex scenes in one hour, the director can fill the rest of the running time with whatever he wants. We believed it was true at the time, so we tried to make what we wanted to make... Retrieved January 23, 2009. Archived from on 2007-10-02. Archived from on 2009-01-24. Archived from on 2009-02-12. Archived from on 2002-05-21. Archived from on 2013-10-30. Archived from on 2008-02-28. Archived from on 2008-02-28. Archived from on 2009-01-22. Archived from on 2010-10-17. Archived from on 2011-07-10. Archived from on 2008-04-20. Archived from on October 21, 2008. Archived from on February 21, 2009. New Haven: Kinema Club. Retrieved March 31, 2015. Archived from on 2004-11-18. Archived from on 2007-07-02. TokyoScope: The Japanese Cult Film Companion. San Francisco: Cadence Books. A Lateral View: Essays on Culture and Style in Contemporary Japan. Berkeley, California: Stone Bridge Press. Behind the Pink Curtain: The Complete History of Japanese Sex Cinema. Japanese Cinema Encyclopedia: The Sex Films. Miami: Vital Books: Asian Cult Cinema Publications. Archived from on 2008-05-01. Archived from on 2007-10-11.

MAMA Movie Trailer (Horror - Thriller)
Tomina žena Helena se teško nosila s neimaštinom i nedaćama koje su ih zadesile i krivila je Tomu što nije bio mudriji i šutio. Archived from on 2013-10-30. By the end of the 1980s, adult videos had become the main form of adult cinematic entertainment in Japan. Likovi koje je 'iznjedrila' 'Naša mala klinika' nasmijavali su sve generacije pred malim ekranima, a duhovito govori o zgodama i nezgodama u jednoj osebujnoj klinici. Coming to prominence in the 1980s, a time when the theatrical porn film was facing considerable difficulties on several fronts, this group is known for elevating the pink film above its low origins by concentrating on technical finesse and narrative content. Archived from on 2004-11-18. Three of the most prominent pink film directors of the 1990s, , and all made their directorial debuts in 1989. Younger starlets like , and were starting their careers and already making names for themselves in the pink film industry, but are best remembered today for their work with Nikkatsu during the 1970s.