This essay situates the impossible volume of Japanese pink filmmaker Hamano Sachi's more than three hundred films as a reproductive labor, arguing that through its iterative enactments her filmmaking practice performs renewals that invigorate her life as an onna (woman) in cinema and make it possible in the first place. The argument advances that we might understand Hamano's pink cinema as a woman's cinema that rewrites sex in non-phallic terms, borrowing from the artist and social theorist Bini Adamczak's theory of circlusive sex. Reading the visual and aural techniques of Hamano's pink cinema alongside her autobiography, the conflicts and desires Hamano faces as a woman in film, which recruit her reproductive labor to nourish her very existence, are brought into conversation. Because the autobiography implicates structures of value located in legible, visible forms, the essay ultimately advocates for investing in the material articulations of Hamano's pink forms.
Living as an Onna in Japanese Cinema: Pink Filmmaker Hamano Sachi's Reproductive Labor
Kimberly Icreverzi is a lecturer in the Critical Gender Studies program and the Department of Literature at the University of California, San Diego, focusing on gender, labor, and value in postwar Japanese cinema. She previously published a short essay in the Genealogies special issue of Feminist Media Histories. She has taught in the programs in Film and Television, Women's, Gender & Sexuality Studies, Japanese, and Comparative Literature at Boston University, and Visual and Media Arts at Emerson College.
- Views Icon Views
- Share Icon Share
- Search Site
Kimberly Icreverzi; Living as an Onna in Japanese Cinema: Pink Filmmaker Hamano Sachi's Reproductive Labor. Feminist Media Histories 1 April 2019; 5 (2): 83–110. doi: https://doi.org/10.1525/fmh.2019.5.2.83
Download citation file: