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ReFocus: The Films of Doris Wishman$
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Alicia Kozma and Finley Freibert

Print publication date: 2021

Print ISBN-13: 9781474482349

Published to Edinburgh Scholarship Online: January 2022

DOI: 10.3366/edinburgh/9781474482349.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 01 July 2022

Revolutionization of the EroticScreen: The Films of DorisWishman and Wakamatsu Koji

Revolutionization of the EroticScreen: The Films of DorisWishman and Wakamatsu Koji

Chapter:
(p.144) Chapter 8 Revolutionization of the EroticScreen: The Films of DorisWishman and Wakamatsu Koji
Source:
ReFocus: The Films of Doris Wishman
Author(s):

Molly Kim

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474482349.003.0009

This chapter compares the work of Wishman and Wakamatsu Koji, examining Wishman’s Double Agent 73/Deadly Weapon (1973, 1974) in conjunction with Wakamatsu’s contemporary works Season of Terror (1969) and Ecstasy of Angels (1972) and tracing how their concept of “erotic” was cinematized to cater to the commercial, sexual and political desires of the time. Wishman, as one of the very few female filmmakers, suggested new possibilities in the representation of female agency within male dominated field of erotic cinema. Wakamatsu, largely known for his radical leftism demonstrated how politics could be voiced through the erotic conventions of Pink Film. Following, this chapter traces how Wishman and Wakamatsu came to represent rule breaking and progressive cinema.

Keywords:   Wakamatsu Koji, Season of Terror, Ecstasy of Angels, Pink film

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