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In interviews done by Bitna Kim, "Caucasian" men explain their fetish for Asian women. The Caucasian men interviewed fantasize that an Asian woman possesses both beauty and brains, that she is "sexy, intelligent, successful, professional, caring, and family oriented"; that she does not wear "White girl clothes" and heavy makeup, and that they ...
Behind the Pink Curtain: The Complete History of Japanese Sex Cinema. Guildford: FAB Press. pp. 127, 342. ISBN 978-1-903254-54-7. Weisser, Thomas; Yuko Mihara Weisser (1998). Japanese Cinema Encyclopedia: The Sex Films. Miami: Vital Books : Asian Cult Cinema Publications. ISBN 1-889288-52-7.
In their Japanese Cinema Encyclopedia: The Sex Films, the Weissers credit the success of the film both to director Nishimura and lead actress Kazuko Shirakawa. Nishimura, they write, "pays particularly close attention to his characters, often allowing their lusty personalities to carry the tale without clichéd action subplots.
To Lady Min, Gyo Bin's father supposedly killed Star due to a sickness that was never treated and killed Lady Min's father by stealing their land. Lady Min gets revenge by telling him to give all his assets (including Cheonji Constructions) and selling his house because of items on properties that were created by Gyo-bin to Lady Min.
Office Lady Love Juice (OLの愛汁 ラブジュース, OL no aijiru: rabu jūsu) is a 1999 Japanese Pink film directed by Yūji Tajiri. It was chosen as Best Film of the year at the Pink Grand Prix ceremony. After her boyfriend leaves her, a 28-year-old woman has a romance with a 20-year-old man. [1]
A shunga woodblock print from 1772 depicting a man and a woman engaging in an erotic wrestling match with a second woman acting as a referee. Most shunga are a type of ukiyo-e, the main artistic genre of woodblock printing in Japan. Although scarce, there are however extant erotic painted handscrolls which predate the Ukiyo-e movement. [6]
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Visitor Q (ビジターQ, Bijitā Kyū) is a 2001 Japanese erotic black comedy-horror film [1] directed by Takashi Miike.It was filmed as the sixth and final part of the Love Cinema series consisting of six straight-to-video releases by independent filmmakers via a brief but exclusive run at the minuscule Shimokitazawa cinema in Tokyo. [2]