PinkCat Podcast

Welcome to episode 11 of the PinkCat Podcast. In this episode, we'll discuss Two Lovers, One Ghost (2002) & The Park (2003). We chose these films because they are excellent examples of the tropes and themes established in Norio Tsuruta's highly influential J-horror film Scary True Stories: Night Two (1992). These themes were later popularized by films such as Ring (1998), Ju-On: The Grudge, and Pulse (2001). The directors of the three films mentioned above (Hideo Nakata, Takashi Shimizu, Kiyoshi Kurosawa) all cite Chiaki J. Konaka/Norio Tsuruta's Scary True Stories trilogy (1991 - 1992) as a major influence. You can find that same influence in the two films we're covering in this episode. Naomi (BjorkBoobah):LetterboxdAsian Cinema ShineIGVisp:LetterboxdIGTrevor (The Film Bug):LetterboxdTikTokIGThe Pink Cat Podcast:IGWatch/Listen HereEvery Film Mentioned on the PodcastDISCLAIMER: Viewer discretion is strongly advised. This podcast discusses softcore erotic cinema and films that may contain simulated sexual activity, nudity, sexual violence, violence, gore, strong language and other mature themes. All films discussed on this podcast are likely to carry an 18 rating, and the podcast should generally be considered intended for adults aged 18 and over. Our approach is film history alongside critical, artistic, and sociocultural analysis. We examine these works as narrative films, exploring their themes, filmmaking techniques, performances, censorship histories and cultural significance. References to sexual content, violence and other mature material, including any illustrative excerpts or images, are included for the purposes of genuine discussion, criticism, review, social commentary and education. We aim to keep such material proportionate to the subject being discussed and to avoid gratuitous or unnecessarily explicit presentation. Our editorial approach is informed by Section 4 of the Obscene Publications Act 1959, concerning publication in the public good in the interests of drama and other arts, literature or learning, and Section 64 of the Criminal Justice and Immigration Act 2008.We intend to approach these films as works of cinema and cultural artefacts, encouraging informed discussion of their artistic, historical, and social context. This podcast may use limited and proportionate excerpts, images and clips of copyrighted material for criticism, commentary, review, quotation, research and educational purposes. In the United States, such use qualifies as fair use under Section 107 of the U.S. Copyright Act. In the United Kingdom, such use qualifies under the fair dealing exceptions in Section 30 of the Copyright, Designs and Patents Act 1988. All material is used to support analysis and discussion, with acknowledgement where required. Copyright remains with the respective rights holders.

Welcome to episode 10 of the PinkCat Podcast. It's impossible to accurately discuss the history of Pink film without covering the rampant themes of sexual assault that have been a reoccurring theme that has plagued the late-60s output of Wakamatsu Pro. We have chosen to discuss Yasuharu Hasebe's Okasu! (1976) and Hisayasu Sato's Naked City (1990), which we believe are two excellent examples of how such sensitive subject matter can be examined in a way that focuses on the resulting trauma, rather than the horrid act itself, like so many pink films tend to do.Naomi (BjorkBoobah):LetterboxdAsian Cinema ShineInstagramVisp: LetterboxdInstagramTrevor (The Film Bug):LetterboxdTikTokInstagramPinkCat:YouTubeInstagramLetterboxd list of every film we mention on the podcastDISCLAIMER: Viewer discretion is strongly advised. This podcast discusses softcore erotic cinema and films that may contain simulated sexual activity, nudity, sexual violence, violence, gore, strong language and other mature themes. All films discussed on this podcast are likely to carry an 18 rating, and the podcast should generally be considered intended for adults aged 18 and over. Our approach is film history alongside critical, artistic, and sociocultural analysis. We examine these works as narrative films, exploring their themes, filmmaking techniques, performances, censorship histories and cultural significance. References to sexual content, violence and other mature material, including any illustrative excerpts or images, are included for the purposes of genuine discussion, criticism, review, social commentary and education. We aim to keep such material proportionate to the subject being discussed and to avoid gratuitous or unnecessarily explicit presentation. Our editorial approach is informed by Section 4 of the Obscene Publications Act 1959, concerning publication in the public good in the interests of drama and other arts, literature or learning, and Section 64 of the Criminal Justice and Immigration Act 2008.We intend to approach these films as works of cinema and cultural artefacts, encouraging informed discussion of their artistic, historical, and social context. This podcast may use limited and proportionate excerpts, images and clips of copyrighted material for criticism, commentary, review, quotation, research and educational purposes. In the United States, such use qualifies as fair use under Section 107 of the U.S. Copyright Act. In the United Kingdom, such use qualifies under the fair dealing exceptions in Section 30 of the Copyright, Designs and Patents Act 1988. All material is used to support analysis and discussion, with acknowledgement where required. Copyright remains with the respective rights holders.

Naomi (BjorkBoobah):⁠Letterboxd⁠⁠Asian Cinema Shine⁠⁠Instagram⁠Visp:⁠Letterboxd⁠⁠Instagram⁠Trevor (The Film Bug):⁠Letterboxd⁠⁠TikTok⁠⁠Instagram⁠The Pink Cat Podcast:⁠Instagram⁠⁠Watch/Listen Here⁠⁠Every Film Mentioned on the PodcastVisp's University/Academia List

Welcome to episode 9 of the PinkCat Podcast. For this episode, we will be discussing Ho Meng-Hua's Black Magic (1975) & Black Magic 2 (1976). These two Shaw Brothers films helped to jumpstart the Hong Kong black magic subgenre which was a wave of exploitation horror that depicted taoist and Southeast Asian folklore. These films typically feature supernatural surrealism, rituals, curses, bugs, body horror, and lots of shocking content. We will be discussing how these early black magic films were influential on the later Category III films and the subgenre's own context in horror history.Naomi (BjorkBoobah):LetterboxdAsian Cinema ShineInstagramVisp:LetterboxdInstagramTrevor (The Film Bug):LetterboxdTikTokInstagramThe Pink Cat Podcast:InstagramWatch/Listen HereEvery Film Mentioned on the PodcastDISCLAIMER: Viewer discretion is strongly advised. This podcast discusses softcore erotic cinema and films that may contain simulated sexual activity, nudity, sexual violence, violence, gore, strong language and other mature themes. All films discussed on this podcast are likely to carry an 18 rating, and the podcast should generally be considered intended for adults aged 18 and over. Our approach is film history alongside critical, artistic, and sociocultural analysis. We examine these works as narrative films, exploring their themes, filmmaking techniques, performances, censorship histories and cultural significance. References to sexual content, violence and other mature material, including any illustrative excerpts or images, are included for the purposes of genuine discussion, criticism, review, social commentary and education. We aim to keep such material proportionate to the subject being discussed and to avoid gratuitous or unnecessarily explicit presentation. Our editorial approach is informed by Section 4 of the Obscene Publications Act 1959, concerning publication in the public good in the interests of drama and other arts, literature or learning, and Section 64 of the Criminal Justice and Immigration Act 2008.We intend to approach these films as works of cinema and cultural artefacts, encouraging informed discussion of their artistic, historical, and social context. This podcast may use limited and proportionate excerpts, images and clips of copyrighted material for criticism, commentary, review, quotation, research and educational purposes. In the United States, such use qualifies as fair use under Section 107 of the U.S. Copyright Act. In the United Kingdom, such use qualifies under the fair dealing exceptions in Section 30 of the Copyright, Designs and Patents Act 1988. All material is used to support analysis and discussion, with acknowledgement where required. Copyright remains with the respective rights holders.

Welcome to the 8th episode of the PinkCat Podcast. On this episode, we will be discussing two films: Kōji Wakamatsu's Sex Family (1971) & Takashi Miike's Visitor Q (2001). After Visitor Q received a new blu-ray restoration from New Wave Video, we felt it was an opportunity to talk about the history of Japanese incest/sex family films as it is a prevalent theme in post-war Japanese cinema and erotica.Naomi (BjorkBoobah):LetterboxdAsian Cinema ShineInstagramVisp:LetterboxdInstagramTrevor (The Film Bug):LetterboxdTikTokInstagramThe Pink Cat Podcast:InstagramWatch/Listen HereEvery Film Mentioned on the PodcastDISCLAIMER: Viewer discretion is strongly advised. This podcast discusses softcore erotic cinema and films that may contain simulated sexual activity, nudity, sexual violence, violence, gore, strong language and other mature themes. All films discussed on this podcast are likely to carry an 18 rating, and the podcast should generally be considered intended for adults aged 18 and over. Our approach is film history alongside critical, artistic, and sociocultural analysis. We examine these works as narrative films, exploring their themes, filmmaking techniques, performances, censorship histories and cultural significance. References to sexual content, violence and other mature material, including any illustrative excerpts or images, are included for the purposes of genuine discussion, criticism, review, social commentary and education. We aim to keep such material proportionate to the subject being discussed and to avoid gratuitous or unnecessarily explicit presentation. Our editorial approach is informed by Section 4 of the Obscene Publications Act 1959, concerning publication in the public good in the interests of drama and other arts, literature or learning, and Section 64 of the Criminal Justice and Immigration Act 2008.We intend to approach these films as works of cinema and cultural artefacts, encouraging informed discussion of their artistic, historical, and social context. This podcast may use limited and proportionate excerpts, images and clips of copyrighted material for criticism, commentary, review, quotation, research and educational purposes. In the United States, such use qualifies as fair use under Section 107 of the U.S. Copyright Act. In the United Kingdom, such use qualifies under the fair dealing exceptions in Section 30 of the Copyright, Designs and Patents Act 1988. All material is used to support analysis and discussion, with acknowledgement where required. Copyright remains with the respective rights holders.

Welcome to episode 7 of the PinkCat Podcast. For our seventh episode, we will be discussing two films: Nun in Rope Hell (1984) and Golden Nun (1977). The former was recently released on Blu-ray by New Wave Video and is part of Nikkatsu's Roman Porno line, the latter however, isn't a retroactively rated Cat III. Instead, it's a bizarre Taiwanese horror film from the 70s. While Japanese cinema is home to many Nunsploitation films, China and Taiwan hardly have any. Instead, the monksploitation genre was far more popular, and we might cover that on a future episode. Either way, both films feature good nuns with bad habits. We will be discussing the political, societal and problematic aspects of both films, and how they appeal to us as seasoned explorers of the respective genres. Naomi (BjorkBoobah):LetterboxdAsian Cinema ShineInstagramVisp:LetterboxdInstagramTrevor (The Film Bug):LetterboxdTikTokInstagramThe Pink Cat Podcast:InstagramWatch/Listen HereEvery Film Mentioned on the PodcastDISCLAIMER: Viewer discretion is strongly advised. This podcast discusses softcore erotic cinema and films that may contain simulated sexual activity, nudity, sexual violence, violence, gore, strong language and other mature themes. All films discussed on this podcast are likely to carry an 18 rating, and the podcast should generally be considered intended for adults aged 18 and over. Our approach is film history alongside critical, artistic, and sociocultural analysis. We examine these works as narrative films, exploring their themes, filmmaking techniques, performances, censorship histories and cultural significance. References to sexual content, violence and other mature material, including any illustrative excerpts or images, are included for the purposes of genuine discussion, criticism, review, social commentary and education. We aim to keep such material proportionate to the subject being discussed and to avoid gratuitous or unnecessarily explicit presentation. Our editorial approach is informed by Section 4 of the Obscene Publications Act 1959, concerning publication in the public good in the interests of drama and other arts, literature or learning, and Section 64 of the Criminal Justice and Immigration Act 2008.We intend to approach these films as works of cinema and cultural artefacts, encouraging informed discussion of their artistic, historical, and social context. This podcast may use limited and proportionate excerpts, images and clips of copyrighted material for criticism, commentary, review, quotation, research and educational purposes. In the United States, such use qualifies as fair use under Section 107 of the U.S. Copyright Act. In the United Kingdom, such use qualifies under the fair dealing exceptions in Section 30 of the Copyright, Designs and Patents Act 1988. All material is used to support analysis and discussion, with acknowledgement where required. Copyright remains with the respective rights holders.

Welcome to episode 6 of the PinkCat Podcast. For our sixth episode, we will be discussing two early Cat III films, Intimate Confessions of a Chinese Courtesan (1972) and The Killer Snakes (1974). Both films are great examples of retroactively rated Cat III films that served as boundary pushers, laying the rotten foundation for what would become the Cat III rating. We will be discussing the political, societal and problematic aspects of both films, and how they appeal to us as seasoned explorers of the respective genres.Naomi (BjorkBoobah):LetterboxdAsian Cinema ShineInstagramVisp:LetterboxdInstagramTrevor (The Film Bug):LetterboxdTikTokInstagramPinkCat Podcast:YouTubeInstagramLetterboxd list of every film we mention on the PodcastDISCLAIMER: Viewer discretion is strongly advised. This podcast discusses softcore erotic cinema and films that may contain simulated sexual activity, nudity, sexual violence, violence, gore, strong language and other mature themes. All films discussed on this podcast are likely to carry an 18 rating, and the podcast should generally be considered intended for adults aged 18 and over. Our approach is film history alongside critical, artistic, and sociocultural analysis. We examine these works as narrative films, exploring their themes, filmmaking techniques, performances, censorship histories and cultural significance. References to sexual content, violence and other mature material, including any illustrative excerpts or images, are included for the purposes of genuine discussion, criticism, review, social commentary and education. We aim to keep such material proportionate to the subject being discussed and to avoid gratuitous or unnecessarily explicit presentation. Our editorial approach is informed by Section 4 of the Obscene Publications Act 1959, concerning publication in the public good in the interests of drama and other arts, literature or learning, and Section 64 of the Criminal Justice and Immigration Act 2008.We intend to approach these films as works of cinema and cultural artefacts, encouraging informed discussion of their artistic, historical, and social context. This podcast may use limited and proportionate excerpts, images and clips of copyrighted material for criticism, commentary, review, quotation, research and educational purposes. In the United States, such use qualifies as fair use under Section 107 of the U.S. Copyright Act. In the United Kingdom, such use qualifies under the fair dealing exceptions in Section 30 of the Copyright, Designs and Patents Act 1988. All material is used to support analysis and discussion, with acknowledgement where required. Copyright remains with the respective rights holders.

Welcome to episode 5 of the PinkCat Podcast. For our fifth episode, we will be discussing two early pink adjacent films, Daydream (1964) and Gate of Flesh (1964). Both films are great examples of pinku's early experimental period before recognizable genre tropes had been established. We will be discussing the political, societal and problematic aspects of both films, and how they appeal to us as seasoned explorers of the respective genres.Naomi (BjorkBoobah):LetterboxdAsian Cinema ShineInstagramVisp:LetterboxdInstagramTrevor (The Film Bug):LetterboxdTikTokInstagramPinkCat Podcast:InstagramLetterboxd list of every film we mention of the podcastDISCLAIMER: Viewer discretion is strongly advised. This podcast discusses softcore erotic cinema and films that may contain simulated sexual activity, nudity, sexual violence, violence, gore, strong language and other mature themes. All films discussed on this podcast are likely to carry an 18 rating, and the podcast should generally be considered intended for adults aged 18 and over. Our approach is film history alongside critical, artistic, and sociocultural analysis. We examine these works as narrative films, exploring their themes, filmmaking techniques, performances, censorship histories and cultural significance. References to sexual content, violence and other mature material, including any illustrative excerpts or images, are included for the purposes of genuine discussion, criticism, review, social commentary and education. We aim to keep such material proportionate to the subject being discussed and to avoid gratuitous or unnecessarily explicit presentation. Our editorial approach is informed by Section 4 of the Obscene Publications Act 1959, concerning publication in the public good in the interests of drama and other arts, literature or learning, and Section 64 of the Criminal Justice and Immigration Act 2008.We intend to approach these films as works of cinema and cultural artefacts, encouraging informed discussion of their artistic, historical, and social context. This podcast may use limited and proportionate excerpts, images and clips of copyrighted material for criticism, commentary, review, quotation, research and educational purposes. In the United States, such use qualifies as fair use under Section 107 of the U.S. Copyright Act. In the United Kingdom, such use qualifies under the fair dealing exceptions in Section 30 of the Copyright, Designs and Patents Act 1988. All material is used to support analysis and discussion, with acknowledgement where required. Copyright remains with the respective rights holders.

Welcome to episode 4 of the PinkCat Podcast. For our fourth episode, we will be discussing one pinku adjacent film, Door 2: Tokyo Diary (1991) and one Cat III adjacent film, Help Me, Eros (2007). Both films deal with melancholy that at the time of release was relevant to the cultural climate of the respected counties. We will be discussing the political, societal and problematic aspects of both films, and how they appeal to us as seasoned explorers of the respective genres.Naomi (BjorkBoobah):LetterboxdAsian Cinema ShineInstagramVisp:LetterboxdInstagramTrevor (The Film Bug):LetterboxdTikTokInstagramThe PinkCat Podcast:InstagramLetterboxd list of every film we mention on the PodcastDISCLAIMER: Viewer discretion is strongly advised. This podcast discusses softcore erotic cinema and films that may contain simulated sexual activity, nudity, sexual violence, violence, gore, strong language and other mature themes. All films discussed on this podcast are likely to carry an 18 rating, and the podcast should generally be considered intended for adults aged 18 and over. Our approach is film history alongside critical, artistic, and sociocultural analysis. We examine these works as narrative films, exploring their themes, filmmaking techniques, performances, censorship histories and cultural significance. References to sexual content, violence and other mature material, including any illustrative excerpts or images, are included for the purposes of genuine discussion, criticism, review, social commentary and education. We aim to keep such material proportionate to the subject being discussed and to avoid gratuitous or unnecessarily explicit presentation. Our editorial approach is informed by Section 4 of the Obscene Publications Act 1959, concerning publication in the public good in the interests of drama and other arts, literature or learning, and Section 64 of the Criminal Justice and Immigration Act 2008.We intend to approach these films as works of cinema and cultural artefacts, encouraging informed discussion of their artistic, historical, and social context. This podcast may use limited and proportionate excerpts, images and clips of copyrighted material for criticism, commentary, review, quotation, research and educational purposes. In the United States, such use qualifies as fair use under Section 107 of the U.S. Copyright Act. In the United Kingdom, such use qualifies under the fair dealing exceptions in Section 30 of the Copyright, Designs and Patents Act 1988. All material is used to support analysis and discussion, with acknowledgement where required. Copyright remains with the respective rights holders.

Welcome to episode 3 of the PinkCat Podcast. For our third episode, we will be discussing one pinku, Woman in a Box: Virgin Sacrifice (1985) and one Cat III, There is a Secret in my Soup (2001). Both films are based on true crime cases. We will be discussing the political, societal and problematic aspects of both films, and how they appeal to us as seasoned explorers of the respective genres. Naomi (BjorkBoobah):LetterboxdAsian Cinema ShineInstagramVisp:LetterboxdInstagramTrevor (The Film Bug):LetterboxdTikTokInstagramThe Pink Cat Podcast:InstagramDISCLAIMER: Viewer discretion is strongly advised. This podcast discusses softcore erotic cinema and films that may contain simulated sexual activity, nudity, sexual violence, violence, gore, strong language and other mature themes. All films discussed on this podcast are likely to carry an 18 rating, and the podcast should generally be considered intended for adults aged 18 and over. Our approach is film history alongside critical, artistic, and sociocultural analysis. We examine these works as narrative films, exploring their themes, filmmaking techniques, performances, censorship histories and cultural significance. References to sexual content, violence and other mature material, including any illustrative excerpts or images, are included for the purposes of genuine discussion, criticism, review, social commentary and education. We aim to keep such material proportionate to the subject being discussed and to avoid gratuitous or unnecessarily explicit presentation. Our editorial approach is informed by Section 4 of the Obscene Publications Act 1959, concerning publication in the public good in the interests of drama and other arts, literature or learning, and Section 64 of the Criminal Justice and Immigration Act 2008.We intend to approach these films as works of cinema and cultural artefacts, encouraging informed discussion of their artistic, historical, and social context. This podcast may use limited and proportionate excerpts, images and clips of copyrighted material for criticism, commentary, review, quotation, research and educational purposes. In the United States, such use qualifies as fair use under Section 107 of the U.S. Copyright Act. In the United Kingdom, such use qualifies under the fair dealing exceptions in Section 30 of the Copyright, Designs and Patents Act 1988. All material is used to support analysis and discussion, with acknowledgement where required. Copyright remains with the respective rights holders.