The term is gairaigo derived from the English phrase "erotic grotesque", and is frequently shortened to simply guro.
The modern genre of tentacle rape began within the category of ero-guro (although it has roots in older Japanese art), but was so successful that it is now usually considered separately.
Some more extreme examples of guro include images of people with their limbs removed, often through force; creative uses of chainsaws; and other violent imagery, including rape, dismembered persons packed in suitases, and death.
There is much ero, guro, nansensu there, related in the chatty tone of a congenial flaneur, telling stories about this place or that, and who did what where, while trolling the streets for new sensations.
The cultural slogan of the time was ero, guro, nansensu, "erotic, grotesque, nonsense." Kawabata Yasunari was one of the writers whose early work was infused by this spirit, and it was his book that made the Folies famous.
But there are others, more of the guro than the ero variety: the man in the Asakusa fairground with a mouth in his belly, smoking through his stomach; or the female tramps who dress like men; or the children who clean public toilets because they love modern concrete.
Kawabata notes that "The Japan Hall thought of the effective name Dance Eroero Team, and even the Shôchikuza had to reply, in big black letters, with Dance Ero.
One of the most popular actresses of the 1930s was Mizunoe Takiko of the Shôchiku Theater Troupe, pictured here on a traditional battledore (a kind of paddle game).
Not much flesh was actually shown on stage, but the suggestion was hyped.
Meanwhile, the novella involves a push-and-pull dynamic, evoking the strange while simultaneously problematizing it, a stance that I argue is related to the narratological character of mystery and eroguro nansensu fiction as a whole.
During the 1920s, it became a forum for writing dealing with "ero, guro, nansensu" ("eroticism, grotesquerie, and nonsense"), all popular themes during the day.
After briefly examining the question of why such fiction emerged at that point in history, this paper will look at the narratological modes used in such work, specifically in depictions of aberrant behavior.
The Diary of Emily K. -- Seattle, WA : Eros Comix, 1992-.
-- (Eros Graphic Albums ; 22) -- Call no.: PN6767.D4R3213 1996 ----------------------------------------------------- Eros Graphic Albums ; 24 Phoebus III / by F. Saudelli.
Call no.: PN6700.C62no.149 ----------------------------------------------------- "Eros dans les Cases" / par Arnaud De la Croix.
see also: exploitation film - eroguro - Japanese cinema
During the late 60s, as censorship patterns relaxed around the world, films such as these were made the world over to pander to audiences clamouring for more and more excesses in their desire to be shocked.
It also applied to a school of anti-Marxist literature, eroguro nansensu bungaku, or erotic, grotesque nonsense literature and later to film-making and even anime.
see also: Japan - Japanese cinema - Edogawa Rampo - Teruo Ishii - eroguro nansensu
Es geht um den japanischen Sexfilm (Pinku Eiga) und den sogenannten Ero-Gro (Erotic-Grotesque), einem Genre, in dem sich klassischer Chambara- und Samurai-Film mit Sex- und Horrorelementen mischt.
(This site currently turns up at the bottom of the first page of search results by virtue of my two recent posts on the 1932 Aso Coal Strike and Japan's era of EroGuro Nansensu in the 1920s, thereby putting "Korean[-Japanese]" and "[bobbed] hairdos" in fairly close sequence.
Here's an interesting, if disjointed, blogpost with comments on "Korean imperialism in Mongolia" that I found while trying to figure out why someone came to my site by googling "korean+hairdos"?!
The term is gairaigo derived from the English phrase "erotic grotesque", and is frequently shortened to simply guro.
The modern genre of tentacle rape began within the category of ero-guro (although it has roots in older Japanese art), but was so successful that it is now usually considered separately.
Some more extreme examples of guro include images of people with their limbs removed, often through force; creative uses of chainsaws; and other violent imagery, including rape, dismembered persons packed in suitases, and death.
Week 6: Ero-Guro and Proletarian Literature 10/6 Monday In Class: Discussion of The Mystery of Rampo Reading Assignment: Hayama Yoshiki, “Letter Found in a Cement Barrel” (in course packet) Writing Assignment: The term ero-guro, or erotic grotesque, was used in the interwar period to describe a genre of literature and other forms of artistic production.
Using the works of his we’ve read, and/or the film The Mystery of Rampo, explain whether you think this term applies to his work and if so how.
Write a 2-3 page paper using these two primary texts (and any others you may wish to include) explore the intertwining of the political and the aesthetic in Shanghai.
EroGuro and Angura Kei are two similiar movements, and in music are considered to be closely related.
The word EroGuro or EroGuro Nansensu is gairaigo derived from the English phrase "erotic grotesque nonsense", and is sometimes shortened to simply guro (though this shortening is usually used to describe pornography).
EroGuro bands (most often seen as a sub-genre within Visual Kei or Post Visual by some fans) typically use shock visuals, as well as lyrics and live imagery, but look less feminine than traditional Visual Kei.
Rumors have it that the band Cali-Gari is responsible for the creation of the term EroGuro.
Remember, Dir En Grey is a Visual-Kei band, so try to watch the videos if you can, they may not be for everyone since they are EroGuro, but Cage and The Final have videos that won't risk your appetite.
Do NOT mistake EroGuro for Ero-Guro, which is a style of Japanese pornography.
Hayama is said to have read Dostoyevsky, Gorky, and other nineteenth-century Russian writers and we can make a case for such influences in "The Prostitute," but one critic has suggested that another possible, less magisterial influence is ero-guro, the erotic, grotesque sensibility that was an important part of popular Japanese culture at the time.
The short story "The Prostitute" (Imbaifu) by Hayama Yoshiki (1894-1945) is generally considered to be one of the more important works of Japanese proletarian literature, a genre that flourished in the 1920s and early 1930s, when it was finally suppressed by the state.
Hayama produced a large body of fiction before he stopped writing during the Pacific War, though by that time he had not been seen as a proletarian writer for at least a decade.
