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However, some writers have reserved the term 'pink film' for Japanese sex movies produced and distributed by smaller independent studios such as OP Eiga, Shintōhō Eiga, Kokuei and Xces. Until the early 2000s, they were almost exclusively shot on 35mm film. Many theaters swapped 35mm for video projectors and began relying on old videos to meet the demand of triple-feature showings. This article places the pink film in the larger context of postwar erotic cinema. Pink films became wildly popular in the mid-1960s and dominated the Japanese domestic cinema through the mid-1980s. In the 1960s, the pink films were largely the product of small, independent studios.

The eroductions are the limpest of softcore, and though there is much breast and buttock display, though there are simulations of intercourse, none of the working parts are ever shown. Indeed, one pubic hair breaks an unwritten but closely observed code. The Japanese film ethics board Eirin has long enforced a ban on the display of genitals and pubic hair. This restriction forced Japanese filmmakers to develop sometimes elaborate means of avoiding showing the "working parts", as author Donald Richie puts it. Some have claimed that it is this censorship that gives the Japanese erotic cinema its particular style. Japanese eroductions have to do something else since they cannot show all.

The stultified impulse has created some extraordinary works of art, a few films among them. Contrasting the pink film with Western pornographic films, Pia Harritz says, "What really stands out is the ability of pinku eiga to engage the spectator in more than just scenes with close-ups of genitals and finally the complexity in the representation of gender and the human mind. In the years since the end of World War II, eroticism had been gradually making its way into Japanese cinema. The first kiss to be seen in Japanese film—discreetly half-hidden by an umbrella—caused a national sensation in 1946. The first wave of the pink film in Japan was contemporary with the similar U. In 1964, maverick kabuki, theater and film director Tetsuji Takechi directed Daydream, a big-budget film distributed by the major studio Shochiku.

In her introduction to the Weisser's Japanese Cinema Encyclopedia: The Sex Films, actress Naomi Tani calls this period in pink film production "The Age of Competition". Another major pink film studio, Wakamatsu Studios, was formed by director Kōji Wakamatsu in 1965, after quitting Nikkatsu. The Heroes of the First Wave". The "first queen of Japanese sex movies" was Noriko Tatsumi, who made films at World Eiga and Nihon Cinema with director Kōji Seki.

Until the late 1960s, the "pink film" market was almost entirely the domain of low-budget independent companies. At the beginning of the 1970s, now losing their audiences to television and imported American films, Japan's major film studios were struggling for survival. In 1972, Richie reported, "In Japan, the eroduction is the only type of picture that retains an assured patronage. In 1971 Takashi Itamochi, president of Nikkatsu, Japan's oldest major film studio, decided to stop his own company's involvement with action films and start making sexploitation films.