Daydream (1964 film) - Knowledge (XXG)

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balance of over-statement and mock seriousness." About the film as a whole, the review says, "It is neatly lensed and edited with a gory color scene imbedded in this primarily black and white pic... This film could be accused of bad taste or pornography, and the many scenes of simulated love climaxes may add to this theory. But it also parodies and pokes fun at prudishness, sex overemphasis and the more lascivious love and adventure pix."

516:). Because of rumors of a brief nude scene, Yu was arrested, even though the controversial scene had been removed before its public release. Since the charges were that actress, Park Su-jeong, had been humiliated by appearing nude on the set, this was irrelevant. What may have been relevant, was that she was not actually nude, but wearing a body stocking during the scene. In his 434:, at a time when the world's attention was focused on the country. The authorities were not happy with the impression a widely released sex film might give. The Japan Dental Association protested against the film because of its unsavory depiction of their profession in the character of the dentist. Also, author 255:, began showing more flesh than would have previously been imaginable in the Japanese cinema. Nevertheless, until the early 1960s, graphic depictions of nudity and sex in Japanese film could only be seen in single-reel "stag films", made illegally by underground film producers such as those depicted in 462:

gave the film a positive review, saying that despite the female nudity and erotic and perverse scenes, it was not done in bad taste. The review comments approvingly on the performances of Kanako Michi, Akira Ishihama and Chojuro Hanakawa. Director Tetsuji Takechi was also complemented for his "proper

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in September 1926. The film opens as an artist and a young woman are in a dentist's waiting room. Though he is attracted to the woman, he says nothing to her. They are later in the same examining room. When the artist is given an anaesthetic, he begins to imagine a series of scenes in which the woman

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did contain female nudity, including a brief shot of pubic hair. To the outsider, Japanese censors can seem surprisingly lenient in what is allowed on film, however the depiction of pubic hair and genitalia was strictly forbidden. Takechi fought the government's censorship of this shot, but lost.

583:, the Japanese film-monitoring board, cut about 20% of the film's original content, and this footage is now considered lost. Takechi followed this first conflict with the government with the even more controversial, politically provocative "Black Snow" in 754:

The term pink eiga was first coined in 1963 by journalist Murai Minoru. But it did not come into general use until the late 1960s. In the early years the films were known as 'eroduction films' (erodakushon eiga) or 'three-million-yen-films' (sanbyakuman

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undergoes various forms of sexual abuse at the hand of the dentist, including rape and torture. When the artist recovers from the anaesthetic, he finds bite marks on the woman's breast, indicating that he may not have been hallucinating.

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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.

1513: 520:, Jasper Sharp reports that the arrest was due more to political reasons than obscenity. Yu was released, but fined, and the film was removed from circulation until its return at the 2004 438:

was reportedly unhappy with the film. Tanizaki had worked with the cinema during the 1920s, and regarded Takechi's film as a sign of the decline of the Japanese cinema. Nevertheless,

229:, eroticism had been gradually making its way into Japanese cinema. The first kiss to be seen in Japanese film—discreetly half-hidden by an umbrella—caused a national sensation in 587:. This film would result in Takechi's arrest, and the first motion picture obscenity trial in Japan. He was a television show host in the 1970s. At the age of 68, with his 524:. Comparing Yu's film to Takechi's, Sharp writes that the Korean remake is, "a far superior work, reminiscent of early French surrealism or German expressionism..." 521: 1518: 1346: 1056: 1275: 474:

in the United States for the foreign film, art film and exploitation markets. The film received two releases in the U.S., first opening in

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commented that it would have been acceptable as a special entry, adding, "It would probably have raised howls both for and against it."

1508: 1265: 1197: 1127: 1081: 1010: 946: 909: 869: 665: 640: 29: 1388: 1523: 480: 1538: 1408: 1339: 1137: 1533: 356:, Takechi's second film, was the first big-budget, mainstream erotic film. Artistically shot by Akira Takeda, who was 285: 435: 373: 1438: 1332: 442:

was a major success in Japan, greatly contributing to the acceptance of nudity in Japanese mainstream cinema.

1528: 1398: 1160: 192:. It was the first erotic film to have a big budget and a mainstream release in Japan, and was shown at the 54: 1418: 1448: 1026: 449: 431: 424: 205: 193: 1503: 1428: 1368: 340: 1458: 247:), introduced unprecedented sexual frankness into Japanese films. At the same time, films such as 1468: 1209: 969: 658:

Pink Samurai: An Erotic Exploration of Japanese Society; The Pursuit and Politics of Sex in Japan

595:, he became the director of the first theatrically released hardcore pornographic film in Japan. 454: 1478: 1281: 378: 1319: 1261: 1193: 1189: 1179: 1123: 1077: 1052: 1006: 1002: 992: 942: 905: 901: 891: 865: 861: 851: 772: 742: 661: 636: 632: 622: 360:'s cinematographer between 1965 and 1968, the film was produced independently but released by 261: 430:

The Japanese government was also displeased with the film because it was released during the

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Nudity and sex would officially enter the Japanese cinema with the independent, low-budget

1356: 1238: 713: 325: 201: 42: 694:(Expanded ed.). Princeton, New Jersey: Princeton University Press. pp. 266–267. 209: 256: 1497: 1175: 988: 934: 887: 847: 618: 493: 357: 308: 303: 252: 197: 1324: 1219: 588: 584: 568: 489: 335: 313: 299: 290: 244: 239: 230: 226: 427:," which would become one of the trademarks of Japanese pornography for decades. 1185: 998: 897: 857: 628: 505: 475: 328:

was a theatrical director, especially known for his innovative contributions to

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