Tag: sukeban
When Toei’s pinky violence line first appeared in 1970 it was an unstoppable force, and throughout the early 70s, it showed little signs of slowing down. 1973 in particular was a bumper year for pinky violence, with an excessive offering consisting of – two Girl Boss films, three Terrifying Girls’ High School films, two Female
When looking at the origins of sukeban media, the first representation of the genre came in 1967 with Taro Bonten’s Modern Delinquent Girl Stories manga; with the first proper sukeban film, Girl Boss: Broken Justice, not coming later until 1969. That isn’t to say, however, that vestiges of these themes weren’t explored prior to this.
When Toei’s flagship TV series Playgirl hit its 200th episode, a special event was planned to celebrate. Bringing their big screen output into the mix, Toei devised a crossover with one of their hottest film series – the Girl Boss pinky violence films. By 1973 pinky violence had hit its peak and was one of
When it comes to the cinematic phenomenon that was pinky violence, one of the key attractions was its stars: Reiko Ike, Miki Sugimoto, Reiko Oshida, and Meiko Kaji to name a few. Rocketing to the heights of pop culture icons, the media couldn’t get enough of these glamorous women, with at least one of them
Despite being one of Japan’s biggest film studios throughout the late 40s and 50s during the golden age of Japanese cinema, Daiei were struggling by the mid-60s and had to slash budgets for their productions. This eventually led to a merger with Nikkatsu in 1970, followed by bankruptcy in 1971. Somewhat overlooked is Daiei’s 1968-1969
Whilst manga in Japan was certainly nothing new by the 1950s, the efforts of artists such as Osamu Tezuka led to the medium becoming more popular than ever, especially with children. With the extreme popularity of this childrens’ manga only ever growing, the term “manga” itself was quickly becoming synonymous purely with childrens’ manga. Artists
The term pinky violence is a retroactive term used to collectively refer to Toei’s various films of the early 70’s focused on sukebans, girl gangs and bad girls in general. Initially sparked as a reaction to the girl gang films of their rivals Nikkatsu and Daiei, pinky violence films soon took on a life of
After Purima Kikaku’s success with their three “Document Porno: Sukeban” films they would move onto a new format for their next attempt at the sukeban genre – the “semi-document”. Whereas the document porno films would portray the action as a mockumentary accompanied by a narrator to sell the illusion of reality; “Semi-Document: Sukeban Bodyguard” would
After helping to kickstart sukeban cinema in 1970, Nikkatsu would largely retire from the genre in 1971 after the lacklustre performance of “Bad Girl Mako”, leaving Toei unchallenged in their pinky violence dominance. However, in 1973, a fresh entry would come courtesy of the small studio Purima Kikaku. Purima Kikaku would exclusively make low-budget porn
The genre, now referred to as “Pinky Violence”, would absolutely dominate cinema in the early 70’s, which was largely helmed by Toei in their focused attempt to pump out many popular films to quickly and cheaply as possible to meet their quota of two new films every fortnight in order to obtain exclusivity contracts with