Dissecting Japanese Pink House Films' Gender Power Dynamic: A Sexual

Revolution Among Femme Fetale Characters Through Discourse

By:

Bernadette I. Dayao
Western Mindanao State University
burndeaths@gmail.com

Trixie Mae E. Climaco

Western Mindanao State University
trixieclimacoxo09@gmail.com

John Christian G. Dela Peña

Western Mindanao State University
christianjohn072001@gmail.com

Researchers

ABSTRACT

This study delves into the intricate intersection of gender dynamics and the
sexual revolution within the context of Japanese pink house films, a distinctive genre
in Japanese cinema. By examining the evolution of this genre from its inception in
the 1960s to contemporary times, the research aims to unravel how these films have
contributed to, and reflected upon by putting into light the gender dynamic present
in Japanese pink house films and dissecting the femme fetale archetype
characterized in various pink house films produced over the years. This also aims to
discuss the sexual revolution through the discourse that comes along with it by
deconstructing the sexual liberation of characters from In the Realms of the Senses
(1976), Irezumi (1966), Inferno of Torture (1969) and Shogun’s Joy of Torture
(1968). This study gives a full understanding of the unspeakable representation of
women by enabling an overview of their characterization, predominantly in the
gender and sexual aspects of their characters, and the foothold discourse holds in
asserting their power over the opposite sex. This study answered the research
objectives on the basis of the following hypothesis: that it can be inferred that the
introduction and representation of femme fetale characters in pink house films show
affinity in terms of their gender dynamic roles and the push for sexual revolution
through discourse. By examining the nuanced representation of gender and sexuality
in pink house films through discourse, the research sheds light on the genre's role as
a mirror reflecting societal changes and as a catalyst for shaping evolving
perspectives on gender studies, and the global sexual revolution.

INTRODUCTION

Japanese pink house films, also known as pinku eiga, are a unique genre of
cinema that often incorporates explicit sexual content. While the femme fatale
archetype is more commonly associated with film noir, elements of it can be found in
various genres, including pink films. In pink films, the representation of femme
fatales may involve complex characters who use their sexuality and allure men in
ways that challenge societal norms. Femme fatales in Japanese pink films may
represent a form of sexual liberation and empowerment for female characters.

Their assertiveness and control over their sexuality challenge traditional

gender norms. Films produced in Pink eigu are known for their low budgets and are
distinct from mainstream cinema. Pink films cover a wide range of genres, and the
inclusion of a femme fatale character might vary depending on the specific film.

Gender was one of the primary axes of increased audience segmentation,

which was one of the major trajectories of media culture in Japan throughout the
1960s. During this decade, female audiences began to abandon the cinemas that
specialized in screening films from Japan. This was a development greatly influenced
by the explosive rise of "pink film" and the parallel transition of a significant portion
of studio films into more male-oriented audience-oriented genres emphasizing
themes of violence and sexuality.

The intent of this research was to find out the gender dynamic roles and
sexual revolution through discourse in Japanese pink house films in a form of femme
fetale archetype characterized in various pink house films produced over the years.
As a result;

This study was pursued to answer the following questions:

1. What is the gender power dynamic in;

-In the Realms of the Senses (1976)

-Irezumi (1966)
- Inferno of Torture (1969)
-Shogun’s Joy of Torture (1968)

2. How did these femme fetale characters gained sexual revolution through
discourse?

According to Zahlten (2019), Pink film, especially in its first ten years, presented
stories full of impotence, frustration and traumatic violence, framed via complex
identification mechanisms that deliberately tangled gender lines. The constellation of
themes, tropes and practices that pink film was able to tie together also points to
the trappings of a simplistic psychoanalyzing of a homogenized male audience. The
array of motifs, cliches, and methods that the pink films was able to unite also
illustrates the limitations of an oversimplified psychoanalysis of a male-only
audience.
 Pink house films have frequently challenged traditional gender roles. Female
characters, in particular, are portrayed with a complexity that extends beyond
conventional stereotypes. These films showcase women as agents of desire,
empowerment, and rebellion, offering a departure from more passive roles often
assigned to them in earlier cinematic narratives.

It was believed that some of the immediate success of pink house films can be
placed on the titillating images of naked flesh, but to really understand the genre,
one must understand its economic realities. Domenig (2014), claimed that Much of
the early success of pink cinema directly came out of the distribution system of
Japanese cinema. In the 60s, studio films would usually be split 50/50 between
studio and theaters. Pink films, however, would instead work on a 30% commission,
dropping further to 10% in the late 60s because of competition and over-production.

As a result, this early period witnessed a large number of new pink theaters
popping up as well as older theaters converting to pink films or integrating them into
their lineup. Pink films were also an easy addition for double or triple bills with their
short length and sensational content.

St-Hilaire (2017), illustrated that pink cinema is linked by its erotic nature and
the practices surrounding the making and distribution of the films. In practice, this
means that you can make a horror pink film or a pink comedy. This meant that from
the moment of their inception in 1962 and up until now, pink films have been
remarkably varied. Pink house films have not only reflected societal changes but
have also played a role in shaping cultural perceptions. By addressing taboo subjects
and portraying unconventional relationships, these films contribute to an ongoing
dialogue about societal expectations, consent, and the fluidity of gender roles.

Cultural products such as movies may complement individual perceptions to

offer a richer account of how gender stereotypes prevail in society, especially since
they do not exist independently from one another. An individual’s perception and
acceptance of a stereotype into their schema is influenced by their experiences
including those shaped by the media while the media products a culture creates are
ultimately products of the same perceptions that individuals hold, (Ward L.M, et al,
2005).

The Femme Fatale threatens the status quo and the hero because she controls
her own sexuality outside of marriage. She uses sex for pleasure and as a weapon or
a tool to control men, not merely in the culturally acceptable capacity of procreation
within marriage. Her sexual emancipation commands the gaze of the hero and his
desire to control or possess her.

She is a stereotype for dangerous female sexuality, exemplifying the female body
as being a well-prepared arsenal ready to engage in a war with what is soon no
longer the stronger sex. The Femme Fatale is the personification of how women can
gain a certain level of equality within a male dominated society. Thus, she is a
stereotyped version of all that is or can be considered negative in women.

No one person invented the Femme Fatale. The concept is rooted in and gained
momentum through the work of artists, poets and critics who romanticized a
worldview popularized in the 16th century of chivalrous romance and ladies ever
waiting for a man to rescue (or marry) them.

This study is anchored on Social Construction Theory by Lev Vygotsky.

Particularly as applied to gender, it posits that the understanding of gender is not an
inherent or biologically predetermined aspect of human identity but is socially
constructed through shared meanings, cultural practices, and societal institutions.
This theoretical perspective challenges essentialist views that attribute fixed
characteristics and roles to men and women based solely on biological differences.
 Social construction theory has been influential in understanding gender dynamics
and has provided a framework for examining the shifts in societal attitudes towards
gender and sexuality, including during periods often associated with sexual
revolutions

METHODOLOGY

This study employed a Descriptive-Analysis Research Design by dissecting the

gender dynamic role and sexual revolution among femme fetale characters through
discourse present in Japanese pink house films; In the Realms of the Senses (1976),
Irezumi (1966), Inferno of Torture (1969) and Shogun’s Joy of Torture (1968). This
study implored the intricacies of gender dynamic and the result of sexual revolution
through the representation of female characters.

RESULTS AND DISCUSSION

RESEARCH PROBLEM 1: What is the gender power dynamic in;

PINK HOUSE FILM GENDER DYNAMIC

In the Realms of the Senses (1976) Sada Abe, played by Eiko Matsuda, is
depicted as a strong and assertive
woman who actively pursues her
desires. Kichizo Ishida, played by
Tatsuya Fuji, experiences a reversal of
traditional gender roles as he
becomes the object of Sada's intense
passion and obsession.
Irezumi (1966) In an act of defiance and
empowerment, Otsuya decides to tattoo
a large and intricate spider on her back,
symbolizing her entanglement in a web
of vengeance. The tattoo becomes a
powerful and symbolic representation of
her rebellion against the oppressive
forces in her life. The act of tattooing,
traditionally associated with
masculinity and the yakuza
subculture, becomes a tool of
empowerment for Otsuya.
Inferno of Torture (1969) The movie revolves around a group of
women who are forced into prostitution
and subjected to various forms of
abuse. The film's portrayal of gender
dynamics is heavily influenced by the
exploitative nature of the genre, often
depicting women as victims in a harsh
and unforgiving world.
Shogun’s Joy of Torture (1968) The portrayal of gender role in this
movie is one-dimensional, women are
typically objectified and victimized. The
power dynamics are skewed heavily in
favor of the oppressors, and there is
usually a lack of depth in the
characterization of female roles beyond
their victimization

Figure 1.0 Gender Dynamic in Pink House Films

In the Realms of the Senses (1976)

"In The Realm of the Senses" (1976), directed by Nagisa Oshima, is a

controversial Japanese film known for its explicit sexual content and exploration of
the themes of obsession and desire. The movie is based on a true story of a love
affair between a hotel owner, Sada Abe, and one of her employees, Kichizo Ishida,
in 1930s Japan. The film portrays a complex and intense relationship between the
two characters, delving into the psychological and physical aspects of their
connection. The gender dynamic in "The Realm of the Senses" is an essential
element of the narrative and the exploration of power dynamics and control in the
context of a sexual relationship.

In the movie, both characters challenge traditional gender roles and societal
norms. Sada Abe, played by Eiko Matsuda, is depicted as a strong and assertive
woman who actively pursues her desires. Kichizo Ishida, played by Tatsuya Fuji,
experiences a reversal of traditional gender roles as he becomes the object of Sada's
intense passion and obsession.

The film challenges conventional ideas of gender and power, portraying a

relationship where traditional notions of dominance and submission are blurred. It
raises questions about the nature of desire, the boundaries between pleasure and
pain, and the ways in which societal expectations influence relationships.

Irezumi (1966)

"Irezumi" is a Japanese film released in 1966, directed by Yasuzo Masumura. The

film is also known as "Spirit of Tattoo" or "The Spider Tattoo." It explores the theme
of revenge in the context of the yakuza (Japanese organized crime) culture and
features a strong female protagonist.
 The gender dynamics in "Irezumi" are notable for the central role played by the
female character in seeking vengeance. The protagonist, played by Ayako Wakao, is
a woman named Otsuya who is forced into prostitution after her father is betrayed
and killed by members of a yakuza clan. Seeking revenge for her father's death and
her own mistreatment, Otsuya undergoes a dramatic transformation.

In an act of defiance and empowerment, Otsuya decides to tattoo a large and

intricate spider on her back, symbolizing her entanglement in a web of vengeance.
The tattoo becomes a powerful and symbolic representation of her rebellion against
the oppressive forces in her life.

The film challenges traditional gender roles, depicting a female character who
takes matters into her own hands and actively seeks justice. Otsuya's journey is
marked by a sense of agency and strength, subverting the passive roles often
assigned to women in traditional narratives. The act of tattooing, traditionally
associated with masculinity and the yakuza subculture, becomes a tool of
empowerment for Otsuya.

Inferno of Torture (1969)

"Inferno of Torture" (1969) is a Japanese exploitation film directed by Teruo Ishii.

As the title suggests, the film is known for its graphic depictions of torture and
sadomasochism, common themes in the "pink film" genre of Japanese cinema during
that era. The gender dynamics in "Inferno of Torture" are complex, reflecting the
exploitation and extreme nature of the film.

The movie revolves around a group of women who are forced into prostitution and
subjected to various forms of abuse. The narrative explores the struggles and
sufferings of these women as they endure physical and emotional torment. The
film's portrayal of gender dynamics is heavily influenced by the exploitative nature of
the genre, often depicting women as victims in a harsh and unforgiving world.

One notable aspect is the objectification of women's bodies and the use of
violence as a means of control and domination. The film's explicit scenes often serve
the purpose of sensationalism rather than contributing to a nuanced exploration of
gender dynamics. Women in "Inferno of Torture" are largely presented as passive
victims of a brutal and patriarchal society

Shogun’s Joy of Torture (1968)

"Shogun's Joy of Torture" (1968) is another Japanese exploitation film directed by

Teruo Ishii. Like "Inferno of Torture," this film is part of the exploitation subgenre
known for its explicit and often sensationalistic content. As the title suggests, the
movie explores themes of sadism and torture, set against a historical backdrop in
feudal Japan.

The gender dynamics in "Shogun's Joy of Torture" are consistent with the
exploitative nature of the film. Women are often depicted as victims, subjected to
various forms of torture and cruelty. The movie tends to sensationalize these violent
and explicit scenes, using them for shock value rather than for a nuanced
exploration of gender dynamics.

The portrayal of gender role in this movie is one-dimensional, women are typically
objectified and victimized. The power dynamics are skewed heavily in favor of the
oppressors, and there is usually a lack of depth in the characterization of female
roles beyond their victimization.

RESEARCH PROBLEM 2: How did femme fetale characters gained sexual

revolution through discourse?
 PINK HOUSE FILM SEXUAL REVOLUTION
In the Realms of the Senses (1976) The film engages in a discourse on the
nature of desire, the intersection of
pleasure and pain, and the impact of
societal norms on individual
relationships.
Irezumi (1966) Otsuya's journey could be interpreted as
a symbol of resistance against
oppressive societal norms, reflecting
themes of personal liberation and
empowerment.
Inferno of Torture (1969) The film's emphasis on torture and
sadomasochistic elements overshadows
any exploration of sexual liberation or
societal changes in attitudes towards
sex.

Shogun’s Joy of Torture (1968) This film does not contribute to a

meaningful discourse on sexual
liberation. Instead, it exploits explicit
and violent content for its shock value,
and the depictions of torture
overshadow any potential exploration of
changing sexual norms.

Figure 2.0 Femme Fetale Characters Sexual Revolution Through Discourse

In the Realms of the Senses (1976)

The narrative challenges societal expectations, depicting a relationship outside the

boundaries of traditional morality. Through its explicit content and narrative choices,
the film engages in a discourse on the nature of desire, the intersection of pleasure
and pain, and the impact of societal norms on individual relationships. It forces
viewers to confront their own preconceptions about sex and relationships, pushing
the boundaries of what was considered acceptable in cinema at that time.

Irezumi (1966)

"Irezumi" does not overtly address these aspects of the sexual revolution, but it
does feature a strong and empowered female protagonist, Otsuya. Otsuya
undergoes a transformation, marking herself with a large spider tattoo as an act of
defiance and empowerment after enduring various hardships, including being forced
into prostitution. While the film may not explicitly engage in the discourse of the
sexual revolution, Otsuya's journey could be interpreted as a symbol of resistance
against oppressive societal norms, reflecting themes of personal liberation and
empowerment.

Inferno of Torture (1969)

Exploitation films like "Inferno of Torture" were often produced to cater to

specific audiences seeking sensationalistic and provocative content. While these films
may reflect elements of societal concerns or anxieties about sexuality, they typically
do not engage in meaningful discourse on the sexual revolution. Instead, they tend
to exploit explicit content for shock value and entertainment.

The film's emphasis on torture and sadomasochistic elements overshadows any

exploration of sexual liberation or societal changes in attitudes towards sex. The
narrative is more aligned with the exploitation genre's tendencies to sensationalize
extreme and taboo subjects for commercial purposes rather than to contribute to
meaningful discussions on cultural shifts.

Shogun’s Joy of Torture (1968)

 Exploitation films like "Shogun's Joy of Torture" were more interested in shock
value and sensationalism. "Shogun's Joy of Torture" does not contribute to a
meaningful discourse on sexual liberation. Instead, it exploits explicit and violent
content for its shock value, and the depictions of torture overshadow any potential
exploration of changing sexual norms. The films were created to cater to a niche
audience seeking provocative and extreme content rather than engaging in
discussions on societal shifts. It's important to note that exploitation films of this
nature are generally more concerned with pushing boundaries and breaking taboos
for entertainment purposes rather than providing thoughtful commentary on cultural
or social changes.

CONCLUSION

All things considered Japanese pink house films reflects and responds to
cultural attitudes toward sex and censorship in Japan. The genre has been shaped
by legal restrictions on explicit content, leading filmmakers to use creativity and
symbolism to navigate these constraints. The films "In the Realm of the Senses"
(1976), "Irezumi" (1966), "Inferno of Torture" (1969), and "Shogun’s Joy of Torture"
(1968) all explore elements of sexuality, often in explicit and controversial ways.
However, their portrayals of gender dynamics and engagement with the sexual
revolution vary significantly. While these films may have elements that align with the
explicit and rebellious nature of the sexual revolution, their primary focus is on shock
value and exploitation rather than contributing to a nuanced exploration of gender
dynamics or societal shifts. It's important to approach these films critically,
recognizing their context within the exploitation genre and understanding that their
content may not align with a thoughtful discourse on the sexual revolution or gender
dynamics.
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FILMOGRAPHY

In The Realm of the Senses (1976), directed by Nagisa Oshima

Irezumi (1966), directed by Yasuzo Masumura

Inferno of Torture (1969), directed by Teruo Ishii

Shogun's Joy of Torture (1968) directed by Teruo Ishii