By the end of many of these Nikkatsu films the main character; whether he was an anti-hero, passive aggressive protagonist or reluctant knight would always face the ultimate bad guy, a man usually head of the organization that had been tormenting the protagonist and his love interest. A film which its very title evokes the sound of a western or adventure picture. The postwar influence had not just been limited to the defying sensibility of acting norms accepted in America films but also the American film noir; which was met with much readily acceptable inclusion in to their film making styles. The culture of American films, music, magazines and celebrities had burrowed their way in to the youth of Japan. Mikado Shokai,' established by Makino as a filmmaker for producing educational films in 1919, were absorbed into Nikkatsu (Japan Moving Picture Co., Ltd), by Einosuke YOKOTA, the president of Nikkatsu, who saw MAKINO's independent activities as a threat to his business. 24. Buddha (1961) 4. 1st Logo (Late 1920s) However, the culture was changing. Besides plethora sex scenes, "Housewife's Afternoon Delight" depicts the loneliness and sadness that lurk in daily life. All about the producer Nikkatsu, films by Nikkatsu. They hold a precise place in the cinematic history of Japan and the genre pictures of world cinema. The explanation is best suited to be described as a hybrid. In September 2012, Nikkatsu celebrated its 100th anniversary. Pp. The company also welcomes production service work from clients around the globe. 1956: Nikkatsu releases “Season of the Sun,” the film that launches the career of superstar Yujiro Ishihara. 1. Films produced by Nikkatsu. Nikkatsu sums up a conglomerate of Western influences in an attempt to drive the Japanese film market in to a new and more youthful terrain. B2, B4. Over the last few years, Japan’s box office has been dominated by TV network-produced films, which are staffed by their own production crews — a trend that many in the industry believe is shutting out new directors. This list tried to include many classic pink films, which can be Nikkatsu Roman Porno, Toei Pinky Violence, or other Japanese erotic films. Influence of Genre Films: Nikkatsu, Japan’s oldest major film studio that nurtured the careers of directors such as Shohei Imamura and Seijun Suzuki, produced over 500 Nikkatsu Action genre films beginning in the mid-1950s, of which Suzuki's Tokyo Drifter and Branded to Kill may be the best known. Between 1974 and 1986, Nikkatsu promoted a number of their leading Roman Porno actresses of the popular BDSM niche under the epithet "SM Queen" (SMの女王, SM no joō). Japanese filmmakers have made some of the greatest films of the world in this genre. [clarification needed] It employed such notable film directors as Shozo Makino and his son Masahiro Makino. [citation needed] From the late 1950s to the start of the 1970s, they were renowned for their "borderless action" (mukokuseki akushun) movies,[6] designed for the youth market, whose directors included Suzuki, Toshio Masuda, and Takashi Nomura. It is Japan's oldest major movie studio.The name Nikkatsu amalgamates the words Nippon Katsudō Shashin, literally "Japan Motion Pictures".. Shareholders are Nippon Television Holdings (35%) and SKY Perfect JSAT Corporation (28.4%). Nikkatsu kept on producing films at the astoundingly high rate of 2 films in 2 weeks. They were pointing out the artificiality of linear narratives and reality as a cinematic norm (Miyao, 199). PRODUCTION. By 2011, the company had produced seven feature films. Looking at Toshio Masuda’s Rusty Knife (1958). These are the characteristics one sees in the films of the Nikkatsu studio during the late Fifties and in to the Sixties. Nikkatsu films often scattered gratuitous foreigners in the background of shots, but Crazed Fruit turns the novel’s anti-Americanism into a cultural style. Both can be seen as attempts to create movies distinct from Toei Studio’s ninkyo eiga (“chivalry films”) that were very popular throughout the 1960s and offered a traditional view of the yakuza in particular and Japanese society in … Gamera vs. Gyaos (1967) 12. The structure of many of these Nikkatsu films are not filled with the same American narrative conventions as other international flare. Suzuki Seijun, Takashi Nomura and Takumi Furukawa were all able to turn out quota quickies to hone their skills in which they would be able to utilize later on in their careers. Service. Alastair Phillips and Julien Stringer .New York: Routledge, 2007, pp. They were perfectly suited for the cultural attitude passing through the modern audiences in Japan. They have codes and are usually ruthless gunfighters or vicious badmen. The structure is disorienting and lends itself to the nightmarish feeling and tone the film is trying to express (Miyao, 201). Jess Franco or Joe D'Amato). 1912 Nippon Katsudō Shashin K.K. The inclusion of sex as apparent in Crazed Fruit (1965) or Branded to Kill created an aura of sexuality quite rare in films and was as much a defiance of censorship as it was a sexual awakening taking place in the youth of Japan and many other civilized countries (Anderson, 265). However, the company had a much more distinguished pedigree. No longer a tough guy, Yujiro’s image was more sensitive and in touch with his body than his mind (Raine, 211). In conclusion, these films made between the late 1950’s and in to the late 60’s were calling cards to cinematic discourses of the past and, at the same time, addresses of the modern Japanese audience. 202- 226. p. 188. 10-12. [10] The Sushi Typhoon arm of Nikkatsu creates low-budget horror, science fiction, and fantasy films aimed at an international audience. Today Nikkatsu releases films from all sorts of genres. It was during this boom that nearly one billion tickets were sold a year to Japanese audiences ( Schwarzacher, B2). Few films remain from this early period of the film-maker’s work, except for a partial version of Tokyo March (1929), restored by Cinémathèque française, and Home Town (1930), Mizoguchi’s oldest remaining full film and the first attempt at sound film in Japanese history. Outlaw gangster VIP : the complete collection / a Nikkatsu Corporation production. It could even be called a resonance of pop art and modern ideals. ... Suzuki made dozens of films for Nikkatsu from 1956 onwards, developing an increasingly inventive visual style, but was controversially fired following the release of his 40th, Branded to Kill (1967), which Hori deemed "incomprehensible". A Colt is my Passport is the epitome of their reign outside of Seijun’s films of a more avant-garde venture (Rayns, 26). Excerpt: The Nikkatsu Roman Porno films were a popular, critically respected, financially successful and award-winning series of mainstream, theatrical Japanese softcore pornographic films produced by the movie studio Nikkatsu from November, 1971, until May, 1988. A platoon in Burma sings to … Today Nikkatsu releases films from all sorts of genres. By the 1960’s the term “Film Noir” had not yet garnered the reputation and recognizable presentation that it does now. The characters in these films can be attributed to many of the heroes bound by Westerns in the states. Silver, Alain & Ursini, James. The Japanese Film: Art and Industry (expanded edition). In September 2012, Nikkatsu celebrated its 100th anniversary. Japanese films were starting to take a stand against the more sensitive in-touch actors that their American counter parts were sending to their shores. Tormented by his first sexual stirrings, the teenager Isao dreams every night of his gym teacher Ikuko. They are filled with a more playful and self-aware editing style similar to avant-garde films of the twenties and thirties and later re-utilized in the films of the French new wave (Ibid). The Japanese soundtrack is presented in mono with English subtitles. The reformed Nikkatsu continued to prosper as an exhibition company but ceased all film production. Much like ATG’s early years playing in underground cinemas and cult theaters (Mirasawa, 21). Nikkatsu, set to merge with the two weakest companies, Shinkō Kinema and Daito, were verbally displeased. Influence of Avant-Garde and Experimental Cinema. 8.1. He finally opens her heart but she rejects his advances. The Sushi Typhoon arm of Nikkatsu creates low-budget horror, science fiction, and fantasy films aimed at an international audience. “Ishihara Yujiro: Youth, Celebrity, and the Male Body in Late 1950’s Japan” from World and Image in Japanese Cinema, Washburn, Dennis & Cavanaugh, Carole ed(s). Now Nikkatsu is remaking those classical films. [11], In 2011, the French director Yves Montmayeur produced a documentary about the Pink Film period at Nikkatsu called Pinku Eiga: Inside the Pleasure Dome Of Japanese Erotic Cinema. Nikkatsu sees the roman porno revival as an opportunity for emerging filmmakers and actors to make their mark. It has co-produced films with Asian partners in Indonesia and Korea, as well as co-developing remakes from the company's library with mainstream Hollywood producers. Retrieved 13 September 2011. Couldn’t have written it without the amazing theorists and authors listen at the bottom. Next. The French nouvelle vogue could not have been possible without the American influence of films that came in after the war and American Film noir could not have been possible without the French, who coined the term. San Francisco: Cadence Books. “Long Shot”. Throughout the 1960s, the "pink films" were mainly produced by low-budget, independent filmmakers such as Kōji Wakamatsu. The gunfighters of Westerns past no longer wore white as a representation of chivalry but for aesthetic presentation. Couldn’t have written it without the amazing theorists and authors listen at the bottom A few, including the film directors Yasuharu Hasebe, Keiichi Ozawa, Shōgorō Nishimura, and Koreyoshi Kurahara, stayed. Hori resigned over the change in focus, and many stars and directors left the company. In French cinema of the sixties the need to simply represent reality was not seen as artful cinema. Makino and Onoe made almost a hundred films together from the 1910s to 1926, when the actor died. Continuing on to the Sixties when Nikkatsu had begun their true run of great B-films. Diary of a Shinjuku Thief (Nagisa Oshima, 1968) The third film from Oshima on this list, “Diary of a Shinjuku Thief” contains fewer erotic elements but enough pinky elements to be considered a pink film. They were made by men who found awareness in the study of mainstream cinema as sophisticated and rooted with many intricate studies of art and humanity (Douchet, 16). A Hybrid of Influence: 259 – 300. Nikkatsu or "NIKKATSU CORPORATION" is a film and tv company production, a distribution company that started in japan in 1912-1928, they originally made romantic type films. The influence of genre films like the Western, Gangster or cult / drive-in film is evident in many Nikkatsu films. Raine, Michael. By the end of Seijen’s Branded to Kill the hero finds himself literally in a boxing ring with his final enemy. This is a list of the films in that series. 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