Nikkatsu Roman Poruno and Female Spectatorship:

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Other Title
  • 日活ロマンポルノと女性観客
  • 日活ロマンポルノと女性観客 : 『実録阿部定』が示す親和性
  • ニッカツ ロマンポルノ ト ジョセイ カンキャク : 『 ジツロク アベ テイ 』 ガ シメス シンワセイ
  • 『実録阿部定』が示す親和性
  • A Case Study of <i>A Woman Called Sada Abe</i>

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Abstract

<p>This paper investigates Noboru Tanaka’s Nikkatsu Roman poruno film, A Woman Called Sada Abe (“Jitsuroku Abe Sada,” 1975). Considering recent popularity of Roman poruno films among women, it is high time that we reevaluated them from an academic, feminist standpoint. Despite being supposedly oriented towards heterosexual men like other films in the series, A Woman Called Sada Abe has distinctive qualities that provide cinematic pleasures to female spectators. To prove this point, I begin by theorizing female spectatorship of Roman poruno in general. With the limitations of classic models of spectatorship in mind, I argue that Roman poruno films allow spectators to take fluid and multiple viewing positions beyond the confines of their gender and sexual orientation. Then, I explore the film in question, focusing mainly on its unique heroine, Sada. Through a close analysis of the audio-visual components and the narrative, I suggest that the representation of Sada goes against gender norms of Japanese patriarchal society. The ultimate goal of this paper is to propose that A Woman Called Sada Abe not only enables female spectators to experience malleable identification and desire but also celebrates woman’s pursuit of sexual pleasure.</p>

Journal

  • eizogaku

    eizogaku 96 (0), 27-47, 2016

    Japan Society of Image Arts and Sciences

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