The Relationality between South Korean Erotic Films and Japanese Adult Films - the Production Conventions of Theatrically Released Adult Films of the 1970s and 1980s in the Two Nations, Considering the Case of Madame Aema
DOI :10.18856/jpn.2015.21.2.003
Publisher : The Association of Popular Narrative
Research Area : Interdisciplinary Research
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The characteristic of South Korean cinema of the 1980s is the exceedingly prevalent production of theatrically distributed adult films that are called ‘ero’ films that effectively take advantage of visual ‘eroticism’ in the mainstream industry. As a quite uniquely Korean film genre, the ero film is not only a by-product of the 3Ss Policy that was implemented by the Chun Doo Hwan administration, but it was also the way in which the national film industry came to terms with the global trend of mainstream adult-filmmaking that was particularly popular in the West including the Western-European countries and the U.S. as well as in Japan. Therefore, the ero film is a transnational genre in terms of its entanglement with the foreign conventions of film production, distribution, and reception, and at the same time the very national genre in that it developed into a reflection of local particularity and quirkiness. In addition, the ero film is peculiarly Korean in that its productions, which were explosive in the mid-eighties and meekly continued in the early nineties, virtually ceased in the mid-nineties and yielded to direct-to-video productions of ‘ero video,’ a South Korean soft pornography genre. However, ero film is not completely free from the influence of Korea’s former metropole and neighbor country, Japan, inasmuch as the term ‘ero’ was originated from Japan and the very first ero film, Madame Aema show a few conventions of the contemporary Japanese adult films. The present paper attempts to find the role of the Japanese adult film in the ero film’s formulation by tracing the Japanese influence in it.
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