This is part two of my investigation into Japanese nunsploitation. Building on the foundation built in part one—which featured a brief history of pink film and a close reading of School of the Holy Beast, the foundational Japanese nunsploitation film—this video explores six additional pink nunsploitation films. The video also provides additional discussion on the role of censorship in generating pink film aesthetics, and in the end sums the project up with a comprehensive conclusion.
In many ways, I see it as a certain culmination of all my work on nunsploitation over the past few years. Six months ago I somewhat reluctantly undertook this project because I knew my study would always be incomplete without addressing the Japanese school. To my own surprise, in the end I landed on an interpretation applicable not only to Japanese nunsploitation, but the wider nunsploitation genre too, and one that aligns precisely with my big-picture theory of exploitation film.
Timestamps
0:00 - introduction
0: 48 - the role of censorship in pink film history and aesthetics; Day-Dream (1964); Black Snow (1965)
5:37 - Cloistered Nun: Runa’s Confession (1976)
9:21 - “ama” versus “shudojo”; Nuns that Bite (1977); Virgin Witness (1966)
14:10 - Sins of Sister Lucia (1978)
15:25 - Nun’s Diary: Confession (1979)
19:00 - Nun’s Story: Frustration in Black (1980)
21:11 - Nun in Rope Hell (1984)
23:45 - conclusion: understanding the specifically Japanese meaning of nunsploitation
In all likelihood this will be my final video on nunsploitation. Across five videos and a total runtime of almost two hours, I feel I’ve said what I have to say. I hope this one is a fitting conclusion!
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