前言:我是唸歷史的,也喜歡從歷史的角度去研究日本流行文化。這文可以說是首篇有系統地探討日本如何影響香港色情片的研究。原文是中文(還未出版),這英文版是中文版的撮要,約佔中文版一半左右。這個blog有約兩成人來自非華語國家,所以會間中有英文及日文的文章。我為了這個研究,看了三十多套港產鹹片,這絕非樂事。不禁想起一套叫Clockwork Orange(發條橙)的舊片。想不到自己做了主角。也嘗試約曾參加港產三級片的日本脫星做訪問,但一一被拒(部份態度惡劣)。吃了苦頭是否得成正果?還是由你們判斷吧。

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Japanese Elements in Hong Kong Erotic Films

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Introduction

          Japan has a very strong sex culture that has penetrated into different forms of popular culture and consumption.  Japan’s sex cultural products such as erotic films, adult videos (AV), H-games (hentai games or erotic video games) and adult comics have been globalized and have had a strong impact on cultural industries overseas.  Hong Kong movie industry has been under the spell of Japanese sex culture.  In particular, Hong Kong erotic films contain Japanese elements in terms of casting and themes.  Unlike kung fu films, gangster films and comedies, Hong Kong erotic films have received little media and scholarly attention.  This paper is a preliminary study of the history of Japanese erotic films in Hong Kong and their impact on Hong Kong erotic films from historical and cultural perspectives.  It aims to deepen our understanding of the interplay of Japanization and localization in mapping Asian popular culture in the age of globalization.

History of Japanese Erotic Films in Hong Kong
Japanese erotic films have a relatively long history in Hong Kong and secured a place in Hong Kong movie market, patronized by a group of faithful middle-aged men and used as references for Hong Kong filmmakers to produce their own films.  Japanese erotic films have been imported to Hong Kong since the late 1950s.  Besides kisses and caresses, early Japanese erotic films also showed the lady breast that became a major attraction for Hong Kong audiences.  For instance, The Sexual Desire of a Rebellious Girl (Toho) caused a commotion, promoted as “the first erotic film from Japan.”  In the 1960s, many Japanese “sun-tribe (taiyozoku) films about delinquent youths produced by Nikkatsu, the oldest film company in Japan, were screened in Hong Kong.  While containing sex and violence, these films were not erotic films in the strict sense.  For business purposes, many were given sexy Chinese titles and were promoted as erotic films in Hong Kong.  For example, works by the famous Nikkatsu director Nakahira Ko, such as Collection of Sexual Desire, Sexy Wild Cat, I was Cursed by My Sexual Desire as well as Sexy Woman and Her Sensual Pleasure were screened in Hong Kong as erotic films.  Invited by the Shaw Brothers, Nakahira produced a number of soft porn films in Hong Kong, such as The Trapeze Lady (1967) and Diary of a Lady Killer (1969), under the pseudonym, Yang Shuxi, to hide his Japanese identity (Yau, 2002).  Some were remade from his own Japanese films.  Another Nikkatsu director, Murayama Mitsuo produced a soft-porn film, entitled, The Horse-Head (1969), for the Shaw Brothers in which Dina and Huang Shali had showed their quality as first-generation “sex symbols” in Hong Kong films (Yau, 2000: 102).
        In the 1970s, increasing number of Japanese soft-porn films were screened in Hong Kong cinemas.  In particular, Nikkatsu, became the main supplier of soft-porn films.  While Western erotic films were dominant in the Hong Kong market, Japanese soft-porn films had a large following.  Asian bodies and settings were major attractions.  Some Japanese soft-porn films did well in the box office.  For example, Tokyo Emmanuelle earned $HKD 840,000 in 1976 and its sequel was screened in 1977.1
       
In the 1970s, Hong Kong filmmakers no longer asked Japanese directors to produce soft-porn films.  Hong Kong directors, such as Lu Qi and Li Hanxiang, produced a large number of soft-porn films (Tobius, 1982: 161-169).  Japanese erotic films continued to influence Hong Kong erotic films.  For instance, bedroom sound effects (like moaning, groaning and gasping) and wet kiss, two key elements in Japanese soft-porn films, became clichés in Hong Kong erotic films.  He Fan produced a soft-porn film, The Sex Breast (1978), adapted from Nakahira Ko’s The Diary of a Lady Killer.  
        In the 1980s, the popularity of Japanese erotic films reached the peak, replacing their Western counterparts as the main source of erotic films and outnumbering other genres of Japanese films in Hong Kong (Shu, 2002: 156-157).  Nikkatsu continued to be the largest supplier.  Different Hong Kong film companies purchased Nikkatsu soft-porn films and screened them in Hong Kong.  The Shaw Brothers, the major importer of Nikkatsu soft-porn films, usually bought in a large quantity.  Some were used as references for Shaw’s directors, whereas selected pieces were dubbed in Cantonese, edited and lengthened to distribute in Hong Kong and Southeast Asia.  Most Nikkatsu films were very short (about half an hour per film) and thus Shaw sometimes edited and combined two or three pieces into one (Ming Pao, 1984).  Japanese erotic films were well-received in Hong Kong and many earned more than one million dollars including Ginza Susie ($1.9 million in 1984) and Secrets of the Japanese Palace ($2.3 million in 1987).  Two controversial Japanese films that mixed art with sex directed by prominent directors had breakthrough in the box office.  They were Takechi Tetsuji’s Hakujitsumu (Daydream) ($7.3 million in 1989) and Oshima Nagisa’s In the Realm of Senses ($6.4 million in 1990) (Figure 1). They became the best-selling Japanese films in Hong Kong in 1989 and 1990 respectively.

         
Figure 1: Chinese Poster of Oshima Nagisa’s In the Realm of Senses

       Since the 1990s, Japanese erotic films have begun to decline in the Hong Kong market.  In terms of number, Japanese erotic films screened in Hong Kong cinemas have continued to increase.  In addition to Nikkatsu, Japanese AV companies such as Uchu Kigaku, Alice Japan, VIP and Kuki, have joined the production of Japanese erotic films.  More than a hundred Japanese erotic films are screened per year and Japanese erotic films occupy 60% of all films screened in Hong Kong cinemas.  However, their quality is usually bad and few can sell over $1 million in the box office.  Japanese erotic films can survive in Hong Kong because the costs are very low in buying the film, renting the cinema and doing promotion and they have a group of faithful male audiences.

          Japanese practices associated with erotic films, such as mini-cinemas, cheaper prices and multiple features, have been introduced to Hong Kong.  Since the 1980s, Hong Kong has had a number of cinemas showing Japanese erotic films exclusively.  Like their Japanese counterparts, these cinemas are usually smaller in size, offer cheaper prices and show three films in a row.  Their number reached the peak in the late 1980s and early 1990s when there were about thirty cinemas featuring Japanese erotic films in Hong Kong.  Most were old cinemas located in less developed areas.  The number of these cinemas declined in the late 1990s when the people turned to VCD, CD-Rom, cable TV and internet to watch Japanese erotic films.

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Japanese Cast and Formula in Hong Kong Erotic Films

          Japanese elements in Hong Kong erotic films can be seen in casting and themes.  The most obvious Japanese presence is the participation of Japanese as nude actresses.  Shortly after the Second World War, Hong Kong directors began to add sex into their musicals or love dramas.  Japanese go-go dance drew people attention, featured in a number of Hong Kong films.  For example, The Wonderful World (1956) and The Spring in the Forbidden Land (1959) included Japanese go-go dance performance shot in Japan movie (Lin, 2000: 180).

          Japanese actresses have been participating in Hong Kong erotic films since the 1970s.  Oka Naomi, who played a role in The Detective and the Prostitute Den (1974, Golden Harvest), was perhaps the first Japanese erotic film actress to act in a Hong Kong (Bessatsu Takarajima henshubu, 1994: 83).  In the 1980s, at least 13 Japanese actresses acted in Hong Kong erotic films; many were Nikkatsu soft-porn film actresses.  They were invited because they were more professional, better quality and larger quantity than their Hong Kong counterparts.  Hong Kong erotic films with Japanese actresses were well-received.  For example, The Devotion (starring Yagami Yasuko, 1985) and The Sex Mat (starring Mizushima Yumi and Morita Mizue, 1986) totaled $2.4 million and $3 million respectively.  Golden Harvest invited Nikkatsu soft-porn film director Ohara Yuji to visit Hong Kong for cultural exchange (Ming Pao, 1983: 16).

        In 1988, Hong Kong introduced the three-category classification system to movies that unintentionally promoted the production and distribution of erotic films. 2  Under the new system, producers and directors could produce films with excessive sex and violence and then marketed them as “category 3” films.  Ironically enough, “category 3” itself became a logo for sensual satisfaction guarantee. 

        Hong Kong erotic films flourished in the early 1990s.  A large number of category 3 erotic films were made and about one quarter of them used Japanese AV or soft-porn film actresses (Hammono, 2000: 135-148).  During this period, AV industry declined in Japan but the popularity of Japanese AV reached its peak in Hong Kong.  Hence, many Japanese AV actresses accepted invitation to participate in Hong Kong erotic films.  More than 10 erotic films sold more than $10 million and three of them had Japanese actresses in the cast.  They were Erotic Ghost Story (1990, starring Kudo Hitomi and Kaitsuka Satomi), Erotic Ghost Story 2 (1991, starring Ichijo Sayuri and Kudo Hitomi) and Sex and Zen (1991, starring Murakami Reina, Ayukawa Mari and Nimura Ryoko).  These are all period films based on classical Chinese novels, a practice commonly found in Hong Kong erotic films. 

        More than thirty Japanese actresses took part in Hong Kong erotic films in the 1990s.  Most of them were AV actresses, whereas others were soft-porn actresses or go-go dancers.  Murakami Reina and Otomo Rina are the representatives.

        Murakami Rena, a top-tier Japanese AV actress, participated in three popular Hong Kong erotic films in the early 1990s.  The Sex and Zen (1991) that incorporates Hong Kong kung fu into sex earned $18 million, making it the most profitable erotic film in Hong Kong up to its times.  The Hidden Desire (1991) (Figure 2) and Escape from Brothel (1992) also marked $8.6 million and $5 million respectively.  Her success in Hong Kong helped promote her career in Japanese AV industry.

 
Figure 2: Poster of The Hidden Desire

        Otomo Rina was a prominent AV actress in the late 1980s.  Toward the end of her career in Japanese AV industry, she became active in Hong Kong erotic films.  In the early 1990s, she participated in at least 26 Hong Kong erotic films, making her one of the most recognized faces in this business.  Chinese Ghost Story 3 (1992), in which she played a role, totaled $9.3 million.

        In the early 1990s, jumping on the bandwagon of Japanese AV craze, some Hong Kong filmmakers combined popular Japanese AV with their own films, presenting them as works of Hong Kong-Japan collaboration.  They did not actually acquire the permission from the Japanese side.  Examples were Hong Kong Category 3 Actresses (1992) which stole from Asai Rie’s AV and First Sex Again (1992) which used Aizome Kyoko’s AV.

        With the further decline of AV industry in Japan in the late 1990s, even top AV actresses participated in Hong Kong erotic films to earn extra income.  Yuki Maiko and Ozawa Madoka, the two most popular Japanese AV actresses in Hong Kong, made their debut in Hong Kong erotic films.  Despite their poor quality, Yuki’s Hong Kong Nightlife (1997) and Ozawa’s Don’t Tell My Papa (1997), had good performance in the box office.  Other top AV actresses who have participated in Hong Kong erotic films are Kawamura Chisato, Shoji Miyuki and Sakurai Fuka.

        Why do Hong Kong filmmakers invite Japanese actresses to act in Hong Kong erotic films?  Most Japanese actresses play the role of Chinese and therefore their presence is not required by the scripts.  They are hired for their professional skills and commercial value.  Having Japanese names in the cast itself is a selling point.  Japanese actresses are professional, attractive and affordable.  Most spend only several days in Hong Kong to finish all the shootings.  To hire second-tier Japanese AV actresses, filmmakers usually pay less than $100,000 that includes salary, airfare and hotel.  Even top AV actresses cost no more than $500,000.  One has to pay no less to hire popular local actresses.  For instance, Ye Yuqin pocketed $1 million for her participation in each erotic film. 

        After 2000, Japanese actresses have continued to participate in Hong Kong erotic films, but they are facing strong competition from Korean, Chinese, Taiwanese and Hong Kong counterparts.  The production of Hong Kong erotic films has declined sharply and many producers, directors and actresses have lost their jobs.  There is no budget to hire top AV actresses from Japan and thus most Japanese actresses hired after 2000 are not famous.  Few locally-made erotic films can be screened in cinemas.  Some Hong Kong filmmakers have turned to cable TV and video markets.  For example, Ye Tianxing produced erotic TV dramas and films for cable television and video market, employing Japanese, Korean and Hong Kong actresses.        

        Japanese elements brought by Japanese actresses to Hong Kong erotic films are somewhat limited since they work under the Hong Kong system.  Nevertheless, they are free to express themselves in sexual scenes through which Japanese elements are added.

        Besides the use of Japanese actresses, Japanese elements can also be found in the content of Hong Kong erotic films.  Hong Kong filmmakers incorporate some distinguishable features or themes in Japanese erotic films and AV such as rape, cosplay and peep into their movies.3  Wang Jing’s Rape Series (4 films), Liu Dawei’s Extreme Rape Series (3 films), Peep Series (7 films) and Uniform Fantasy Series (2 films) are such examples.  Localization is obvious in these films (Figure 3).  The background is Hong Kong and the story, photography, approach and expression are all in Hong Kong style.  It seems that Japanese themes are used mainly as gimmick.

 

 
Figure 3: Examples of Hong Kong Movies Which Use
Rape, Cosplay and Peep as Main Themes

        Hong Kong erotic films do not blindly copy from the Japanese.  Hong Kong filmmakers selectively introduce some Japanese elements into their Hong Kong-style movies.  Hong Kong erotic films are different from their Japanese counterparts.  First, Hong Kong erotic films have stronger storyline and plot.  Many develop the story from classical novels or present-day social issues.  In addition to sex, Hong Kong-style humor, kung fu, suspense, terror and action are added.  Japanese erotic films usually have no story but simple plots.  Sex is everything and the setting is always the present.  Second, due to differences in social values and laws, Hong Kong erotic films are much more conservative.  Unlike their Japanese counterparts, they seldom contain scenes of SM, incest, group sex, and other outrageous contents.  Hong Kong erotic films have all sex scenes shot indoor, whereas the Japanese have outdoor shootings such as in hot spring, park, school and car park.  Third, directors and actors in Hong Kong erotic films are usually on the side, whereas their Japanese counterparts specialize in erotic films.  Fourth, women are stronger in Hong Kong erotic films.  They are independent and many stories are about how the heroine uses sex as weapon to achieve her goals.  In contrast, in Japanese films, women are passive, weak and pathetic, usually portrayed as sex slaves or victims.

Concluding Remarks

        For a long time, Japanese sex commodities such as AV, adult films, PC games and nude albums have penetrated the consumption market in Hong Kong.  The presence of Japanese elements in Hong Kong erotic films is salient.  However, the force of localization seems to be stronger than Japanization.  While borrowing from Japanese erotic films and AV in terms of casting and themes, Hong Kong filmmakers fuse them with Hong Kong cinematic styles and practices.  As a result, Hong Kong erotic films are still very typically Hong Kong.  Compared with their Japanese counterparts, they are better in story and more entertaining, but not as explicit and sensual.  Hong Kong and Japan have developed their own styles in erotic films, but they have had very few exchanges and collaborations.  In 2002, Art Port (Japan) worked with Sameway (Hong Kong) to produce The Perfect Education 3: Romantic Night in Hong Kong (Figure 4).  This movie has a Japanese producer, a Hong Kong director as well as actors, actresses, and staff from Japan and Hong Kong.  It is uncertain whether it is the beginning of an era of collaboration in producing erotic films or just a one-time business.  This kind of international collaboration helps stimulate ideas, expand the market and revive this movie genre in both Japan and Hong Kong.

 
Figure 4: The Perfect Education 3: Romantic Night in Hong Kong

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Endnotes

1 All money matters, unless stated otherwise, are in Hong Kong dollars (currently 1 USD=1.78HKD).  The data of box office and rankings are mainly based on Hong Kong Movie Database (http://www.hkmdb.com/index.shtml).  Besides, Hong Kong Movie World (http://www.movieworld.com.hk/) and Hong Kong Movies Bi-Weekly (est. 1979) are also used as references.

2 Television and Entertainment Licensing Authority screens all movies and classifies them into three different categories.  Category 1 is for all ages and category 2 is not suitable for children. Films with excessive sex and violence as well as foul language are classified as category 3 which are only for adults (18 and above).  This system has given filmmakers a lot of freedom to make erotic films.  As long as the private parts are not exposed, they can be screened in commercial theaters in the name of category 3 films.

3. Cosplay, a Japanese English, means “costume play.”  In the Japanese sex industry, females dress as nurses, teachers or office girls to satisfy males’ fantasy.  Peep (nozoki) is another popular element in Japanese sex industry.  Males secretly look at a naked female through a door or the hidden camera.

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References

Bessatsu Takarajima henshubu. 1994. Ichiokunin no AV (AV for 1 Billion People)  Tokyo: Takarajimasha.

Hammono, Stephen. 2000.  Hollywood East: Hong Kong Movies and the People Who Make Them. Chicago: Contemporary Books.

Lin, Peihua. 2000Kuajie de xianggang dianyingpianmu xuanji, 1964-1984,” (Index  to Cross-bordered Films, 1964-1984), in in Xianggang dianying huigu  zhuanti: kuajie de xianggang dianying (Hong Kong Movies Remembered: Cross-bordered Hong Kong Movies) edited by Luo Ka. Hong Kong: Leisure and Cultural Services Department.

Ming Pao Daily, 18 June 1983.

Ming Pao Daily, 6 April 1984.

Shu, Ming. 2002. “Riben yishu dianying zai Xiang Gang,” (Japanese Art Films in Hong Kong), in The 40th Anniversary of Japan Society of Hong Kong: Special Issue. Hong Kong: Japan Society of Hong Kong.

Tobius, Mel. 1982. Memories of an Asian Moviegoer. Hong Kong: SCMP.

Yau, Kinnia. 2000. “Gangri kuajie: yige dou bunengshao” (Hong Kong-Japan Crossover: No One Less), in Xianggang dianying huigu zhuanti: kuajie de  xianggang dianying (Hong Kong Movies Remembered: Cross-bordered Hong Kong Movies) edited by Luo Ka. Hong Kong: Leisure and Cultural Services Department.

Yau, Kinnia. 2002. “Shaoshi dianying de Riben yinsu” (Japanese Elements in  Shaw’s Movies) (unpublished manuscript)

 

 

 

 

 

 

 

 

 

 

 

 

 

Posted by 知日部屋屋主 | 評論(20) | 引用(1) | 閱讀(42665)
知日部屋屋主 Homepage +
2010/08/03 07:01
【明報專訊】港產三級片《3D肉蒲團》邀請了兩位日本AV女優參與演出,昨日原紗央莉和周防雪子一起到港,現場有十多名Fans高舉歡迎牌支持。兩位女優打扮密實,且像不知道大會安排傳媒及Fans接機,當見到記者時顯得愕然,但隨即已合作地企定定任拍照;其中原紗央莉表現較緊張。兩位女優說第一次來港,又表示在日本有拍攝電影經驗,在香港則是首次參加電影演出。兩人要逗留香港半個月,原紗央莉表示很想到迪士尼樂園及到酒樓歎茶,周防雪子則只想專心演出。至於想跟哪位香港藝人合作?兩女自言對香港藝人不太熟悉,要溫習後才可評論。
知日部屋屋主 Homepage +
2009/01/22 06:45
[from Apply Daily, 21-1-09]
香 港 的 三 級 片 曾 風 行 一 時 , 波 霸 葉 子 楣 91 年 主 演 、 蕭 若 元 監 製 、 改 編 自 中 國 名 著 《 肉 蒲 團 》 的 《 玉 蒲 團 之 偷 情 寶 鑑 》 , 就 曾 勁 收 1,800 萬 票 房 , 風 頭 一 時 無 兩 , 奈 何 這 股 三 級 浪 潮 隨  互 聯 網 興 起 而 式 微 。 不 過 蕭 若 元 和 兒 子 蕭 定 一 原 來 早 已 秘 密 部 署 重 振 三 級 片 聲 威 , 落 實 4 月 開 拍 全 港 首 部 《 肉 蒲 團 》 系 列 的 3D 立 體 三 級 片 , 並 屬 意 由 日 本 AV 女 優 、 有 AV Stephy 之 稱 的 吉  明 步 擔 大 旗 。
香 港 電 影 事 業 近 日 一 潭 死 水 是 不 爭 事 實 , 但 香 港 導 演 錢 文 錡 早 前 扒 冷 得 米 , 邀 梁 敏 儀 、 林 偉 健 、 日 本 女 星 若 菜 光 和 上 原 Kaera 在 逆 流 下 演 出 低 成 本 三 級 片 《 金 瓶 梅 》 , 4 個 月 前 上 畫 爆 冷 收 近 300 萬 票 房 。 錢 文 錡 成 功 刀 仔 鋸 大 樹 , 已 拍 竣 的 《 金 》 片 續 集 曾 定 下 月 14 日 情 人 節 面 世 , 雖 然 昨 日 傳 出 映 期 或 有 變 , 但 推 出 必 有 期 。
其 實 坊 間 對 《 金 》 片 口 碑 麻 麻 , 但 港 片 萎 縮 多 年 , 三 級 片 老 早 是 夕 陽 行 業 。 曾 監 製 經 典 三 級 片 《 玉 蒲 團 之 偷 情 寶 鑑 》 的 製 作 人 蕭 若 元 靈 機 一 觸 , 決 定 食 住 條 水 , 重 振 色 情 三 級 片 聲 威 , 與 兒 子 蕭 定 一 4 月 聯 手 開 拍 《 肉 蒲 團 》 系 列 的 3D 立 體 三 級 片 , 再 度 燃 點 三 級 片 火 燄 。
方潤 +
2005/10/11 14:01
To Au Yeung:
我對 AV 實在沒甚麼研究(其實也看得不多—與某些朋友相比的話),至於提到一些香港男生對校服的看法,是基於以前我在網上見到的網友自述歸納而成的。
當然,每個人的看法會有不同。有些人很喜歡自家校服,卻又有些人覺得討厭。所以你沒甚麼感覺,也是正常不過。
せんきち +
2005/10/09 12:30
>我在新貼文中將圖片放大給妳参考。
很感謝.
>看了poster,不知妳是否是那套日本片?
對不起,我的中文很差,所以您詢問的意思我不太明白.
請用寫日文.可以嗎?
すいません。お手数をおかけします。

By the way,《肉林˙浪子˙快刀》的日版DVD10月21日發售.

http://www.amazon.co.jp/exec/obidos/ASIN/B000AU1OL...
知日部屋屋主 +
2005/10/09 11:44
謝謝指示。我在新貼文中將圖片放大給妳参考。
它宣傳的banner是東寶。
也可能是港發行商弄錯。
看了poster,不知妳是否是那套日本片?
せんきち +
2005/10/09 11:39
對不起.我寫錯了.不是ping,是pink.
せんきち +
2005/10/09 11:36
謝屋主.我不知道這部電影的日文題名,不過我覺得這部電影不是東寶的.應該是新東寶的.當時的新東寶(跟現在ping電影拍攝的新東寶不一樣)拍攝很多色情性電影.
還有松竹的海女系列電影也很紅.這些電影的女主角泉京子1960年來香港.

http://senkichi.blogspot.com/2005/06/blog-post_12....

http://senkichi.blogspot.com/2005/06/in.html
知日部屋屋主 +
2005/10/09 11:28
AV (adult video)

香港色情片多聘用有一定知名度藝人為男角(如單立文、王書麒、吳啟華、徐錦江及曹查理),不像日本有一大群專業、廉價及無名的AV男優。
thiefray +
2005/10/09 11:16
我想問, 其實av 的全名是甚麼?

我用某p2p 軟件時
卻發現一個有趣現像
很多同香港有關的18禁, 都有徐錦江這個名字, 應該和三級武俠有關

另外
我以前曾經找到一個香港男女三級影星的簡單網頁
http://www.100down.com/download/infoView/Article_1...
知日部屋屋主 +
2005/10/09 07:45
中国語で《飛女慾潮》、1950年代後半灣仔京華戲院上映。
せんきち +
2005/10/09 00:28
Dear.屋主
請問,"The Sexual Desire of a Rebellious Girl"的日文題名(An original title)是甚麼? sweat
kiwi +
2005/10/09 00:02
it's "clockwork orage", not "clockwise...".
Iris +
2005/10/08 23:31
大家提到香港的av中缺乏創意,會不會引用一下"av現場"這本書的資料?

我買了這本書但未仔細讀.印象最深的是訪問"高橋雅也"的"全棵"系列: 全部沒有性愛場面,據說當時卻大賣. 我認為他的成功在於跳出av的框框去拍av,不因循,有創意,有gimmick.

Au Yeung +
2005/10/08 20:29
>只要走上一些討論校服的論壇,就可以見到有很多男人談得眉飛色舞。正如水手服本身沒甚麼「色情」可言,色情總是人自己加上的一種感覺。

Oh really?
I do not have any "evil imagaination" upon HK student uniform, esp. that of my own college indeed.laugh

>一般男性對自己母校(當然不是男校)的校服最多幻想,因為這喚起了他們的校園回憶,又勾起了少年的性幻想(可能的對象多是同學)。

This is quite amazing to me.
Maybe I am an exception. This may be closely related to my own experience in my adolescence during which almost all of my friends (intimate classmates) were female.
This is virtually impossible for me to interpret female classmates as subjects of erotism.

Well, you know, I am really a pure cherry boy indeed.coolsmile
方潤 +
2005/10/08 20:01
日本 AV 看多了,確實很悶。(也許因為這樣,所以有些人追求鬼畜系的﹖不過我就覺得很噁心,還是有點浪漫情節的比較好接受。除此以外,奇情也是一個有趣的題目。)
可是香港 AV 又似乎不大成氣候(始終是社會和市場的問題﹖),否則以香港人的創意和文化匯聚,應該不難拍出新意思。

> Maybe it is difficult to have sexual imagaination upon HK uniform
其實不然,你認為很難,也有人覺得很易呀。
只要走上一些討論校服的論壇,就可以見到有很多男人談得眉飛色舞。正如水手服本身沒甚麼「色情」可言,色情總是人自己加上的一種感覺。
從網上得到的大體印象是,除了那幾種「代表性」校服外,一般男性對自己母校(當然不是男校laugh)的校服最多幻想,因為這喚起了他們的校園回憶,又勾起了少年的性幻想(可能的對象多是同學)。
知日部屋屋主 +
2005/10/08 16:41
香港三級色情片其實港味十足,特別是聊齋系列水準頗高。
2002年隻身來港拍《燈草和尚》的日本AV女優朱野順子的話值得参考。至於為什麽放棄AV來港拍色情片,她解釋說:「很多人都問我何解不留在日本從事AV工作?其實日本那邊的AV製作很凌亂。要是你有留意AV片的話,都會發覺其內容非常沉悶,而且很多都是沒有故事情節。一開機就做,而且拍攝過程很猥瑣。相反香港拍的三級片便有秩序得多。好似《燈草和尚》全以古裝拍攝,不論服飾及布景都很認真。這樣拍攝顯得很專業。我覺得作為演員,這樣才有發展機會。所以酬勞對我來說反而不是太重要。」
Au Yeung +
2005/10/08 16:17
Well, everyone has his own 萌え elements. To me, sailor uniform wore by a HK pupil is 萎え instead of 萌え. (I know that there are sailor uniforms in HK, but they are seldom.) They attract some Japanese guys who appreciate the combination of sailor unifrom and a foreigner "exotic."
The objection from 衛道之士 is the same in Japan, but they virtually have no major effect on the sex cultural products.

BTW, I agree that patterns of HK uniform are comparactively unique in Greater China, or even in the whole East Asia.
They are simple and, to say straightly, pupil-alike. Maybe it is difficult to have sexual imagaination upon HK uniform, but I love it because it was the uniform of us. Well, it has nothing to do with eotic videos or any erotism indeed...
方潤 +
2005/10/08 15:57
在網上也曾經聽過有人建議用更有本地特色的校服拍 AV,相信會很受歡迎云云。

這個論點頗有意思,不過我想片商有兩個重要的考慮﹕
1. 因為用上本地校服而惹起教育界和衛道之士圍攻,絕不划算。(當年朱茵穿女警和女童軍制服的《制服誘惑》已經惹起大風波,相信一般片商不會再去冒被狀告的險)
2. 香港人口幅員還無法構成一個足以自我延續的文化消費市場,香港的文化產品一向要靠外銷才能獲利。偏偏大中華地區之中,香港的校服式樣是比較「奇特」的一種。用香港校服拍AV,相信只能喚起香港男人的校園情懷,其他人看了也沒特別感覺,銷情大概不會理想。
除非香港能像日本般把「水手制服」轉化成其他人都能明白的「符號」(頗賴日本各種文化「侵略」之功),否則「香港校服AV」可能賺不了錢。

P.S. 水手服雖然不普遍,可是有幾所香港學校的水手制服都已被「公認」有代表性。就正如長衫校服一樣,這幾所學校的制服相片,在網上也頗能獲得良好反應(難聽點說是得到「麻甩佬」熱烈追捧)。
所以,就算用水手服拍AV,也未必不切合「港情」。
知日部屋屋主 +
2005/10/08 15:09
嚴格來說,香港沒有真正的AV,有的是三級片程度的OVA。近年本地三級色情片已差不多game over,只有出VCD的份兒。
Au Yeung +
2005/10/08 14:52
Although I am not a professional in this field, in my impression, HK AVs are deteriorated copies of Jap. AVs in aspects such as attributes (制服、人妻 etc.) are obvious, as mentioned in the article.
BTW, Blog Master's 守備範囲 (in terms of research) is really broad.I virtually have no interest in conducting a research on AVs by myself, but it is a pleasure to read others' papers. 佩服!

Just as a soft talk, HK movies with sailor uniform makes me confused as it is not a common form of school uniform in HK. This cultural mixture is a bit unnatural to me.
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