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[English]varnish　 亮油 ...
[English]lacquering　 上亮油 ...
[English]varnishing　 上亮油 ...
[English]lacquer　 亮油 ...
[English]printing varnish　 亮油 ...
[English]polishing varnish　 亮油 ...
[English]overprint varnish　 加印亮油 ...
[English]press varnish　 印刷机上涂布的亮油 ...
亮油漆膜伸长试验 英文名称: test for elongation of varnish coating CAS号: 分 子 式: 相关内容概述： 测定胶面胶鞋鞋面亮油漆膜在拉伸中出现龟裂时伸长程度的试验。试验直接从成品鞋中裁取(120...
亮油 英文名称: gloss oil CAS号: 分 子 式: 相关内容概述： 又称石灰松香清漆。将松香加热熔化，与一定数量的熟石灰粉末(氢氧化钙)反应制得松香钙酯，再与干性油一起炼制后加入催干剂和200号溶剂汽油稀释制备而成。其酸值约为...
近日我厂经常接到客户印刷活件要求印刷品满版印亮油。目前行业内的印刷亮油有：罩光油，亮光浆，大鹏亮油，水油，UV油。能在印刷机上完成的印亮油工艺仅有：罩光油，亮光浆，大鹏亮油其它就要另外的机器和工艺来完成了。　　客户对亮度有较高要求，且不...
当你开车行驶在野外，突然发现仪表盘上的油表指示灯亮了，估计你的心情也会立刻紧张起来。如果不能及时加油，爱车到底还能开多远，会不会在半路抛锚呢？这也许是很多车主都遇到过的事情。爱车油表灯亮后，极限续航又到底是多少呢？　　车友经历：亮灯后还...
亮唇油 英文名称: wet lips CAS号: 分 子 式: 相关内容概述： 用于唇部起光亮作用的油性化妆品，外观为无色或有色透明，亦或具有珠)七色彩的黏稠性油状液体，易在唇部皮肤上涂展、附着，感觉润泽而不油腻。使用时可直接涂敷于唇部...
电脑。欺骗的好,故障灯就不会亮。欺骗的不好或者仿真器坏了,故障灯就会点亮。 还有,你这么那么懒,就不能多打几个字把故障码的含义写上来吗??F3维修手册上都查不到这个故障码。现在搞得我们连是哪方面的故障都判断不了。到底是油改气出了问题还是其他...
正时机油控制阀总成（OCV）故障或者线路故障；②OCV阀的滤清器堵塞或者发动机的油道堵塞油压不足。拆下OCV阀并测量其电阻值为7.1Ω（标准6.9~7.9Ω），正常。将蓄电池正极接至1号端子，负极接至2号端子，并检查气门的工作情况，气门快速...
　　当你开车行驶在野外，突然发现仪表盘上的油表指示灯亮了，估计你的心情也会立刻紧张起来。如果不能及时加油，爱车到底还能开多远，会不会在半路因没油而抛锚呢？这也许是很多车主都遇到过的事情。而爱车的极限续航到底是多少？怎样才能知道呢？ 亮灯后...
是什么油呀,燃油吗,燃油是会引起故障灯亮,用高号汽油就好了 ...
油浮子。换个油浮子就好了，。半小时的活 追问： 奇瑞旗云的油浮子大概要多少钱？ 回答： 我做汽修不做配件。这个要询价。我也不知道。国产车配件便宜，估计贵不了那里去 ...
肯定是电脑出可问题,很可能是哪里电路短路,联电,从不给油能看出来,赶快找维修站吧,稍微处理一下就好了。 ...
通过球阀排气驱动连接的设备工作。 YONGBA无油压缩机工作原理:无油空气压缩机是属于微型往复式活塞式压缩机，电机单轴驱动压缩机曲轴旋转时，通过连杆的传动，具有自润滑而不添加任何润滑剂的活塞便做往复运动，由气缸内壁、气缸盖和活塞顶面所构成的...
Mail: Copyright by ；All rights reserved.From Wikipedia, the free encyclopedia
Tatsumi Kumashiro (神代 辰巳 Kumashiro Tatsumi) was a
known for his critically acclaimed, award-winning
films, such as
(1972) and
(1979). He was the most highly acclaimed director of the early Nikkatsu Roman Porno era, with many box-office successes, and films regularly appearing on the yearly Best Ten lists of the mainstream
film journals. Kumashiro has been called, "the most consistently successful director in Japan's cinematic history," and
calls him, "arguably the most important Japanese director to emerge during the 1970s."
Tatsumi Kumashiro was born on April 24, 1927 in , on -- the southernmost of Japan's four main islands. His father was a pharmaceuticals merchant and
master descended from the
class. A strict disciplinarian, Kumashiro's father believed in the warrior philosophy of
as written in
and supported Japan's military exploits of the 1930s and 1940s. Early in life Kumashiro rebelled against this upbringing by immersing himself in
and . During , Kumashiro entered medical school as a means of avoiding the draft, but dropped out as soon as the war ended in Japan's defeat. He studied
at , but, deciding he could not make a living writing novels, entered
studio as an assistant director in 1952, and moved to
Kumashiro worked as an
until he was finally given a chance to direct in . His debut film, , told the story of a
and her daughter who wished to join her mother's profession. The star of the movie, Hatsue Tonooka, became Kumashiro's wife later in the year, though the marriage ended in divorce within a few months. Front Row Life anticipated Kumashiro's later career in its focus on striptease performers. The film was a critical success, but because it failed at the box-office Nikkatsu put Kumashiro's directing career on hold again.
"My films are about people not biology."
-- Tatsumi Kumashiro
In 1971, facing bankruptcy due to a loss of their audience to television, Nikkatsu decided to devote its facilities almost exclusively to theatrical soft-core pornography. Several directors, not wishing to work in pornography, left the studio, opening up vacant positions.
Nikkatsu gave its Roman porno directors a great deal of artistic freedom in their films, as long as they met the official minimum quota of four nude or sex scenes per hour. In this environment, at the age of 44, Kumashiro was given his second chance to direct. Though his later films took full advantage of Nikkatsu's lenient policies by experimenting with cinematic time and space in an almost surreal manner, his first Roman porno, Wet Lips (Nureta Kuchibiru) (), was fairly simplistic. However, this story of a prostitute and her lover on the run after killing her pimp proved to be a major critical and box-office success, and established Kumashiro's directorial career. Wet Lips was also the first of Kumashiro's many films to use the word "Wet" (nureta) in the title.
His next film,
(1972) was another hit with the critics and the public. Japan's most famous sex performer of the time, , played the title role for which she won the important
prize for best actress. Accepting the best director and best script awards at the same ceremony, Kumashiro commented, "If I can shoot what I like without the pressure of how it will turn out, I am motivated."
For the next 20 years, Kumashiro directed a string of financial and critical hits unprecedented in Japanese cinematic history, completing ten films in 1972 and 1973 alone. His prolific and successful career during these years earned him the title, "King of Nikkatsu Roman porno" Contrasting him with more mainstream filmmakers like , who sometimes make use of pornographic elements in their films, ’s New York editor, William Johnson calls Kumashiro, "an indisputable maker of screen porn whose films also deserve 'serious' interest." Kumashiro's work was noted for its
themes and for its sympathetic treatment of its characters. Stylistically, his films were experimental, using a variety of
cinematic devices, and complex .
(1973) was an adaptation of the 's
(1791). Jasper Sharp writes that Kumashiro uses de Sade's story as a platform for criticizing morality imposed by power, with particular relevance to the censorship trial Nikkatsu was undergoing at the time with the prosecution of
(1972). Underlying this theme, common in Kumashiro's work, Kumashiro has one of his characters say, "What you accept as ethical is contrived by those in authority so they can control people." Kumashiro also employs censorship as one of the stylistic devices of the film, exaggerating the
required by Japanese law by placing black blocks over large areas of the screen.
(both 1973) were two more films in which Kumashiro similarly used the censor's tools to make an anti-censorship statement.
called The World of Geisha () a "great movie," adding, "The acting is perfect, and the film is humorous. In its praise for female beauty and derision for male stupidity lies the generous spirit of ." Street of Joy aka Red Light District: Gonna Get Out (1974), employing the same setting as 's
(1956), illustrates Kumashiro's common use of devices such as internal animated sequences to situate characters, and
songs to comment on the action.
Kumashiro's 1974 film, Man and Woman Behind the Fusuma Screen: Enduring Skin (Yojo-han Fusuma No Urabari: Shinobi Hada) starred Nikkatsu's reigning Roman porno Queen, . Movie critic
called the film "a masterful porno film rich in emotion, anarchy, and nihilism." Junko Miyashita won the Hochi News award for best actress of 1979 after starring in Kumashiro's
(Akai Kami No Onna) (1979), which the Weissers, in their Japanese Cinema Encyclopedia: The Sex Films call "one of the very best Nikkatsu pink films." Uncharacteristically for Kumashiro, Woman with Red Hair has a straightforward narrative structure, but Jasper Sharp writes that it is still a "difficult" film for viewers who are not familiar with Kumashiro's work. The story, in which a sexually voracious woman comes to live with a construction worker, can be read either as a male fantasy, or as a story of a woman's search for sexual satisfaction. Roughly one-third of the film takes place in the bedroom, with the claustrophobic atmosphere heightened by such exterior sounds as moaning from neighboring drug addicts, and non-stop rain. Sharp writes that it is perhaps best interpreted as "out-and-out fantasy".
Kumashiro also took breaks from the Roman Porno genre to direct mainstream films, beginning with Bitterness of Youth (1974), a story of student radicalism with similarities to 's
(1925). Other such films include Light of Africa (1975) for
and Jigoku (1979), a remake of 's 1960 film , for . For the German-Japanese co-production, The Woman with the Red Hat (1982), Kumashiro worked with Pink Film producer-director . The production was an unsuccessful attempt on Wakamatsu's part to emulate the success he had had in collaborating with the French in 's
(1976). The story, dealing with a Japanese man in Germany and his obsessive sexual relationship with a German woman during Hitler's rise to power, also seemed to echo ?shima's film. Jasper Sharp notes with surprise that Kumashiro, who had long been an opponent of Japanese censorship, did not take advantage of the more liberal European laws. Instead he followed the Japanese practice of obscuring genital areas with props.
Throughout his life Kumashiro was a frail and sickly man. In the 1980s, as the rising AV (Adult Video) industry took away most of the audience for the theatrical Roman pornos, Kumashiro's health began failing. He suffered from a collapsed lung in 1983, but, in spite of his poor health, he continued making films until his death. He directed his last two films, Like a Rolling Stone (Bo no Kanashimi) (1994) and Immoral: Indecent Relations () while using an oxygen tank. He died of heart and lung failure on February 24, 1995.
Kumashiro is remembered with affection by those who worked with him, and is considered one of the best directors to have worked in the Roman Porno series. When interviewed for the British television program, , actress
observed that it may have been Kumashiro's poor physical condition which helped him to portray the fragility of human existence. The Japanese film critic and filmmaker Chiseko Tanaka summarized his career with, "Kumashiro was not a great poet like ,
and . He was a little poet, but he was unique. He devoted himself to his works as a true artist."
aka A Thirsty Life aka Fan Life (かぶりつき人生 Kaburitsuki Jinsei) ()
Wet Lips aka Twisted Path of Love (濡れた唇
Nureta Kuchibiru) ()
aka Ichijo Sayuri: Wet Desire (一条さゆり　濡れた欲情 Ichijo Sayuri: Nureta Yokujo) ()
(恋人たちは濡れた Koibito-tachi wa Nureta) ()
Female Hell: The Moist Forest aka Woods are Wet: Woman Hell (女地獄　森は濡れた Onna Jigoku: Mori wa Nureta) ()
Yakuza Justice: Erotic Code of Honor aka Yakuza Goddess: Lust and Honor (やくざ観音　情女仁義 Yakuza Kannon: Iro Jingi) ()
aka A Man & a Woman Behind the Fusuma Screen (四畳半襖の裏張り Yojo-han Fusuma no Urabari) ()
Moist Desires: 21 Strippers (濡れた欲情　特出し２１人 Nureta Yokujo: Tokudashi 21-nin) ()
Behind the Sliding Door: Chaste Skin aka Man and Woman Behind the Fusuma Screen: Enduring Skin (四畳半襖の裏張り　しのび肌 Yojo-han Fusuma no Urabari: Shinobi Hada) ()
The Key (鍵 Kagi) ()
Failed Youth aka Bitterness of Youth (青春の蹉跌 Seishun no Satetsu ) ()
Street of Joy aka Red Light District: Gonna Get Out (赤線玉の井　ぬけられます Akasen Tamanoi: Nukeraremasu) ()
宵待草 (Yoimachigusa, )
櫛の火 (Kushi no Hi, )
Light of Africa (アフリカの光 Africa no Hikari ) ()
Black Rose Ascension (黒薔薇昇天 Kurobara Shoten) ()
Moist Desires: The Open Tulip aka Wet Lust: Opening the Tulip (濡れた欲情　ひらけ！チューリップ Nureta Yokujo: Hirake! Tulip) ()
Painful Bliss! Final Twist (悶絶！！どんでん返し Monzetsu Donden Gaeshi) ()
Dannoura Pillow War (壇の浦夜枕合戦記 Dannoura Yomakura Kassenki) ()
(赫い髪の女 Akai Kami no Onna) ()
Hell (地獄 Jigoku) ()
Faraway Tomorrow (遠い明日 Tooi Ashita ) ()
Path of the Beast (少女娼婦　けものみち Shoujo Shofu: Kemonomichi) ()
Forbidden Games aka Pleasure Campus: Secret Games (快楽学園　禁じられた遊び Kairaku Gakuen: Kinjirareta Asobi) ()
Mr- Mrs- Ms- Lonely (ミスター?ミセス?ミス?ロンリー) ()
Viva the Women! The Dirty Songs aka Oh! Women: A Dirty Song (嗚呼！おんなたち　猥歌 A! Onnatachi: Waika) ()
The Woman in a Red Hat (赤い帽子の女 Akai Boshi no Onna ) ()
River of No Return aka Modori River (もどり川 Modori-gawa) ()
Mika Madoka: A Woman Who Moistens Her Finger aka Woman With Wet Fingers (美加マドカ　指を濡らす女 Mika Madoka: Yubi o Nurasu Onna) ()
(恋文 Koibumi ) ()
A Woman Who Doesn't Divorce (離婚しない女 Rikon Shinai Onna ) ()
Bedtime Eyes (ベッドタイムアイズ) ()
A Woman Who Bites (噛む女 Kamu Onna) ()
(棒の哀しみ Bo no Kanashimi) ()
Immoral: Indecent Relations (インモラル?淫らな関係 Immoral: Midarana Kankei) ()
Sharp, Jasper (2008). Behind the Pink Curtain: The Complete History of Japanese Sex Cinema. Guildford: FAB Press. p. 137.  .
Weisser, p.204.
Crow, Jonathan. . at .
Weisser, p.137-138.
Weisser, p.257.
Johnson, William (2003).
(PDF). , vol. 57, no.1, Fall 2003. University of California Press. p. 12. Archived from
(PDF) on .
Weisser, p.494.
Johnson, p.14.
Hoberman, J. (). .
(in Japanese).
Weisser, T Yuko Mihara Weisser (1998). Japanese Cinema Encyclopedia: The Sex Films. Miami: Vital Books : Asian Cult Cinema Publications. pp. 204–205.  .
Weisser, p.495.
Johnson, pp.11–12.
Sharp, p. 139.
Sharp, pp. 137-138.
Sharp, p. 138.
(1987) [1982]. Gregory Barrett (translator), ed. Currents in Japanese Cinema (paperback ed.). Tokyo: Kodansha. p. 262.  .
Weisser, pp.514–515.
Sharp, p. 198.
Sharp, p. 199.
Sharp, p. 200.
Weisser, p.206.
Tanaka, Chiseko quoted in Kehr, Dave (). . .
Filmography from "FILMOGRAPHY: Director Tatsumi Kumashiro ()" in : A film by Tatsumi Kumashiro. (2003) Kimstim Collection DVD; Nikkatsu, Kino Video, Kimstim, Inc. KS2012; .
(in Japanese).; and Weisser, T Yuko Mihara Weisser (1998). Japanese Cinema Encyclopedia: The Sex Films. Miami: Vital Books : Asian Cult Cinema Publications.  .
Crow, Jonathan. . at .
"FILMOGRAPHY: Director Tatsumi Kumashiro ()" in A Woman with Red Hair: A film by Tatsumi Kumashiro. (2003) Kimstim Collection DVD; Nikkatsu, Kino Video, Kimstim, Inc. KS2012.
Hoberman, J. (). .
(in Japanese).
Johnson, William (2003).
(PDF). , vol. 57, no.1, Fall 2003. University of California Press. pp. 11–19. Archived from
(PDF) on .
Kehr, Dave (January 12, 2001). . .
. [Japanese Movie Database] (in Japanese).
Sharp, Jasper (2008). Behind the Pink Curtain: The Complete History of Japanese Sex Cinema. Guildford: FAB Press.  .
Weisser, T Yuko Mihara Weisser (1998). Japanese Cinema Encyclopedia: The Sex Films. Miami: Vital Books : Asian Cult Cinema Publications.  .
(in Japanese). (Notes on "A Tatsumi Kumashiro Retrospective" in New York, presented by the Japan Society, January 19 - March 28, 2001
(in Japanese). (2nd page)
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