My Alphabet of Anxieties & Desires, available at

All twenty-six letters of the Roman alphabet are rendered in original illustrations, all of which address either an “anxiety” or a “desire.” While based on the format of a child’s alphabet book, this book is most assuredly for adults.

On sale at I have 5 copies already printed that I can sell at a discounted price ($20 CDN). Contact me in the comments below and we can work out shipping.

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Someone asked me some questions about ero-guro, and here’s what I answered.

I recently received a message via my Facebook Page regarding some of the ero guro nansensu-themed posts on this blog. I felt that the questions raised were so pertinent to my ongoing discussion on the subject, that I should fashion a blog post around them. Many thanks to Christo KJ for the original message.

Q: Hi, I hope you don’t mind that I’m contacting you like this. I’ve been studying film and television science for the past five years here in Norway. I just read your posts about ero guro nansensu and I found it very interesting. But I do have some questions about the definition of what an ero guro film is.     

Both Italian Neorealism and German Expressionism have very specific rules for what type of movies that are and are not part those movements. Ero guro is of course not a film movement like Neorealism. But are there any similar rules when it comes to ero guro in film, which explains specifically what is and what is not ero guro?

A: That’s an excellent question. The short answer is: no, and yes.

No, in that ero guro nansensu emerged as a mass-media driven cultural phenomenon at a time in history when the film industry in Japan was still in its infancy and, as you so rightly pointed out, was not a film movement like German Expressionism — which, incidentally, emerged at roughly same time in Germany as ero guro flourished in Japan.

Ero Guro could be best described as a zeitgeist — or “spirit of the times” — that organically developed during the interwar years in Japan. It’s main devotees were the urban youth, artists, and other bohemians, although its influence was also felt outside of the cosmopolitan city centres. It was not a movement created by a group of artists, nor was it guided by a manifesto of any kind that outlined its common goals or philosophy.

Academics like Miriam Silverberg and Jim Reichert have proposed that ero guro formed a kind of collective reaction against the ultraconservative morality touted by the fascists who were rising to power in 1920s-30s Japan. This interpretation of cultural history does seem to carry credibility, and I wrote about this in my previous blog entry.

With all that said, there are some motifs and themes that I would identify as being strongly indictative of ero-guro. These are:

  • the circus, and the circus sideshow “freak”
  • the dangerous double, or doppelgänger
  • “something horrible hidden in plain view”
  • “deviant” sexualities: fetishes, paraphilias, shibari
  • grotesqueries such as malformed bodies, missing limbs, deformity
  • disguises and secret identities
  • a crime, especially a bizarre and excessively gruesome one
  • insanity, obsession
  • absurdity, nonsense, dark humour

Most of these motifs come directly from the writings of Edogawa Rampo, about whom I wrote in another blog entry. You simply cannot discuss ero-guro in any meaningful way without touching upon the work of Rampo.

Q: Are all pink films that contain torture or S&M ero guro?

A: I would argue no, though there does seem to be a lack of consensus on how best to apply the ero-guro label to more recent films. In my opinion, the term ero-guro (sometimes shortened to simply guro) is thrown around too indiscriminately. Since Rampo and his literary contemporaries were so heavily influential in the shaping of ero-guro, I use their work as a gauge against which all work labeled ero-guro is measured. Whereas Teruo Ishii’s pinky violence film Horrors of Malformed Men is undoubtedly ero-guro — partly owing to the fact that it’s a very loose adaptation of at least five different Rampo stories — not all violent pinku-eiga can be categorized as ero-guro. In other words, even though sex, violence and gore are frequently elements found in ero-guro, their presence alone does not indicate a film that is ero-guro.

To confuse matters further, however, I recently stumbled upon this classification of ero-guro-nansensu in a book entitled Historical Dictionary of Japanese Cinema, written by Jasper Sharp:

“The term [ero-guro] resurfaced in the 1950s to describe the more macabre B-movie gangster, science fiction, and horror works by Shintoho, such as those directed by Ishii Teruo, as well as screen adaptations of writers like Rampo. From the 1980s onward, it has been most commonly used in connection with underground works featuring overt depictions of sex, violence, and grotesquerie…” — Sharp, pp. 60-61

Ultimately, it may come down to personal taste as to which version of ero-guro you prefer. I hold a greater affinity towards the artistry, complex plot twists and exaggerated theatricality of films such as Sion Sono’s Strange Circus (2005), versus the more straightforward softcore-meets-gore of Entrails of a Virgin (1986). Both films deliver on the sex, violence and gore, but Strange Circus does it with a lot more style and panache.


“Strange Circus”, 2005, dir. Sion Sono.

Q: The Guinea Pig movies by Hideshi Hino have been labeled as ero guro (Directory of world cinema: Japan p.251). The two first movies in this series have little to no plot, it’s just about an hour of torture. So what is the difference between ero guro and Japanese torture porn?

A: I strongly disagree  with the categorization of The Guinea Pig films as ero-guro. I would simply label them Japanese torture porn. As you point out, there’s little or no plot. Ero-guro films not only have plot, but they often have very elaborate, convoluted plots.

Q: Would you consider the movie Grotesque by Koji Shiraishi as ero guro?

A: I’m aware of that film, but have yet to view it.

Q: Would you consider some of Takashi Miike’s movies as ero guro, for example Ichi the killer, Gozu, Visitor Q?

A: Takashi Miike has created a couple of films that I would identify as being ero-guro, but not amongst the films you mention. There’s an excellent pan-Asian compilation DVD called Three…Extremes that came out in 2004 which featured a short film by Miike called Box. A dream-like, atmospheric story that’s uncharacteristically restrained for Miike, Box involves the story of twin girls who work with their father in a magic act. Their trick is to fold themselves into impossibly small boxes. There’s the hint of incest (deviant sexuality), bodies that do not conform to convention (the girls are contortionists), murderous revenge and blurred boundaries between the dreaming and waking world. It’s by far the most ero-guro flavoured film that Miike has done to date. You can get a taste of it here.


Q: Are there any non-Japanese films that you would consider as ero guro, like for example Pasolini’s  Salo 120 days of Sodom or A Serbian film?

 I haven’t seen either of those films, so I can’t comment. I tried watching Salo once, and found it impossibly boring. I know enough about A Serbian Film to know that I need never watch it.“Newborn porn”? No thanks.

Some ero-guro films that I would recommend:


Filed under Art musings and other great profundities, Ero Guro Nansensu

Tentacled Animated GIF

Just made this animated GIF for an erotic art tumblr project. Thought I’d share. Feel free to post on your tumblr site, or wherever you see fit.


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Filed under Animation, Art musings and other great profundities, Ero Guro Nansensu

Lady Lazarus’s “Ero Guro” Board on Pinterest

Hello, gentle readers. For those of you who are following my series of ero guro themed posts and can’t quite get enough, I have a special treat. Lady Lazarus has been collecting images on Pinterest for her Ero Guro board. Want to learn more about contemporary artists who work with ero guro themes and subjects? Are you a fan of artists such as Junko Mizuno, Takato Yamamoto, Suehiro Maruo, and Toshio Saeki? Then click on the image below and visit my Pinterest board.

NFSW, but of course you knew that. Nothing too porny, though. This is a classy operation.


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Deviant Desires: Erotic Grotesque Nonsense, Part V: “In the Realm of the Senses”

This is Part V of my ongoing series of posts relating to the Japanese cultural phenomenon called “ero-guro-nansensu”, or erotic-grotesque-nonsense. You can read all of the previous instalments in the Ero Guro Nansensu category of my blog.

Actors Tatsuya Fuji and Eiko Matsuda in Nagisa Oshima's controversial

Actors Tatsuya Fuji and Eiko Matsuda in Nagisa Oshima’s controversial “In the Realm of the Senses” (1976).

The next film I’d like to discuss in my ongoing series on ero-guro-nansensu is one of the most notorious Japanese films ever made,  In the Realm of the Senses (1976), directed by the “bad boy” of the Japanese New Wave, Nagisa Oshima.

“Japanese cinema’s preeminent taboo buster, Nagisa Oshima directed, between 1959 and 1999, more than twenty groundbreaking features. For Oshima, film was a form of activism, a way of shaking up the status quo. Uninterested in the traditional Japanese cinema of such popular filmmakers as Kurosawa and Ozu, Oshima focused not on classical themes of good and evil or domesticity but on outcasts, gangsters, murderers, rapists, sexual deviants, and the politically marginalized.”
— (Text excerpted from an essay written for the Criterion collection on Oshima)

This pedigree of Japanese cinema’s “bad boy” makes Oshima an excellent candidate to direct a film adaptation of the already lurid true story of the famous ero-guro era murderess Sada Abe. In 1936 Tokyo, Sada Abe worked as a maid in a restaurant owned by Kichizo Ishida with whom she became romantically involved. After a brief but intense sexual fling, Abe erotically asphyxiates Ishida, afterwards cutting off his penis and testicles and carrying them around with her in her handbag. Abe was eventually arrested and convicted of murder in the second degree and mutilation of a corpse. She was sentenced to six years in prison, and was released after five.


Newspaper photo taken shortly after Abe’s arrest, at Takanawa Police Station, Tokyo on May 20, 1936.

Pre-WWII writings, such as the text The Psychological Diagnosis of Abe Sada (1937) depict Abe as an example of the dangers of unbridled female sexuality and as a threat to the patriarchal system. In the postwar era, however, she was treated as a critic of totalitarianism, and a symbol of freedom from oppressive political ideologies (from Wikipedia). And thus enters the director Nagisa Oshima. The story of Sada Abe, and the persona that developed around her as a “symbol of freedom from oppression” would, of course, speak to the political aims of Oshima. In The Realm of The Senses uses sex as a radical act against the oppression of personal liberty.

If we recall the fascist propaganda poster I included in my introductory post on ero-guro, we can observe that it clearly promoted a very conservative morality of procreative sex between married couples for the purpose of begetting a new generation of Japanese (all for the purpose of ‘nation-building’). The sex we see depicted between the two main characters in Oshima’s film, Kichi and Sada, is the opposite of that. Theirs is not socially sanctioned sex. They are not husband and wife, and Kichi is already married with children. Once their romantic fling begins, they leave the restaurant and hole up inside a nearby inn – thus removing themselves from society and their prescribed roles within in. Their self-imposed exile, and Kichizo’s eventual death, can be see as the ultimate “opt-out” from the ultranationalist agenda and to Imperial Japan.


Why was In The Realm of The Senses so controversial when it was released in 1976? The film features scenes of unsimulated sex between the two main actors, which is quite daring for a filmmaker who’s known as an auteur, rather than a pornographer. In fact, Oshima was charged in his native county with obscenity, and had to go to court to defend his film (charges were subsequently dropped in 1982). Oshima used the language of pornography, but did not create a purely pornographic film. If the aim of pornography is to titillate for the purposes of arousal, then In The Realm of The Senses does not function as pornography. We, the audience, may watch Sada and Kichi have sex, but the camera never places us within the action. We watch at a certain remove. Additionally, the actors in the film are never objectified, reduced to mere performers of sex for our voyeuristic consumption. We empathize with them. Unlike the objectified and dehumanized porn actors, these actors seem very real and very human to us.
The sex between Sada and Kichi is also very visceral. There is no gloss of romanticism or soft-focus lens here – this is real sex that results in the release of bodily fluids, with the resultant wet spots on the futon and funky smells which permeate the inn room in which Kichi and Sada temporarily reside (and which is commented on by the maids who have to clean their room).

At the beginning of the clip below, we see Sada departing from her meeting with her former school principal, with whom she periodically has sex for money as a means of support herself and Kichizo. The principal (rather ungallantly) points out that she “smells like a dead rat”, which we could read as either relating back to the state of complete physical abandon that Kichi and Sada have entered, or could be foreshadowing of Kichi’s death. Later, when Sada reunites with Kichi, she is visibly shaken by the fact that the maids have cleaned the room in their absence. The inn room had functioned as their oasis from the world, but now the outside world was creeping back in and imposing its order and control.

We see Kichi step out from a barber shop and into an empty street. A platoon of soldiers approaches and Kichi walks in opposition (in the opposite direction) to the soldiers. The next instant, a crowd of flag-waving townsfolk materialize. We can only read this scene as symbolic. Kichi is isolated, walking on a different side of the street from the rest of Japan. There is no place for him in Imperial Japan, and he knows it.

The erotic-asphyxiation that Sada and Kichi engage in originates from their mutually shared desire to explore extreme sensory experiences. Eventually, of course, this co-mingling of death with sex leads to Kichi’s wish to transcend this world.

Next in this series of posts, Yasuzô Masumura’s “Blind Beast.”

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The Astounding Thaumatrope

Photo of my thaumatropes in the Magic Gumball Machine of Fate located at Artscape Youngplace in Toronto.

Photo of my thaumatropes in the Magic Gumball Machine of Fate located at Artscape Youngplace in Toronto.

The thaumatrope was an 18th-century toy constructed from a simple disk or card featuring a different picture on each side and attached to two pieces of string. When the strings are twirled rapidly the card rotates on its axis and the two images appear to combine.

The embedded video below demonstrates one of the four different thaumatropes I created as an artist’s multiple for Nuit Blanche 2015 in Toronto**. You can purchase your very own for the princely sum of $2 from the The Magic Gumball Machine of Fate, which will be located at 522 Queen Street West. Bring your twoonies!

**an annual, all-night visual arts event that takes place in the downtown core of Toronto.

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Deviant Desires: Erotic Grotesque Nonsense, Part IV: “Midori — The Girl in the Freak Show”

This is Part VI of my series of posts relating to the Japanese cultural phenomenon called “ero-guro-nansensu”, or erotic-grotesque-nonsense. Part III, which discussed Teruo Ishii’s “pinky violent” contribution to the ero-guro landscape entitled Horrors of Malformed Men, is found here.

midori_banned 2

Midori — The Girl in the Freak Show
(a.k.a. Shôjo tsubaki: Chika gentô gekiga).
1992, directed and animated by Hiroshi Harada

Much like Teruo Ishii’s Horrors of Malformed Men, a great deal has been made about the banned status of Hiroshi Harada’s 1992 anime Midori — The Girl in the Freak Show, and similarly, the details concerning its banned notoriety are rather murky. This film has screened at a small number of festivals, but is unavailable on DVD in both the 
Japanese and North American markets. It is only available through a small DVD distributor in France called CinéMalta. To a large extent, the film has been buried due to ongoing issues with the Japanese censors, and Harada has simply chosen not to screen it in his native country. In a videotaped interview that was included as an extra on the Midori DVD, Harada stated candidly:

“The situation in Japan makes it very difficult for films like mine to enter the mainstream. Hayao Miyazaki is well-known in Japan, and his films are seen abroad. If his stories represent the official story of Japan, then “Midori” is a counter-story of Japan, one the Japanese State and powers that be have suppressed and tried to hide away.”

Due to the controversial nature of the content, Harada was unable to secure investors for the project. Thus, he financed and worked on the 52-minute film alone, creating all of the artwork over a 5-year period using the technique of cell animation. This explains, in part, the somewhat limited nature of the animation – i.e. some scenes being just a succession of still images with camera holds, pans and zooms.

Suehiro Maruo's 1984 manga

Suehiro Maruo’s 1984 manga “Mr. Arashi’s Amazing Freak Show” (now out of print).

Midori is a very faithful adaption of artist Suehiro Maruo’s underground manga entitled Mr. Arashi’s Amazing Freak Show (published in 1984, now out-of-print) that tells the story of an abused flower girl in 1920’s Japan. When Midori, a poor girl about the age of 12, is suddenly and tragically orphaned, she seeks the help of one of her former customers, the mysterious Bowler Hat Man, who had previously extended an offer of assistance. Unfortunately, it is soon revealed that the The Bowler Hat Man has tricked the naïve Midori into becoming a virtual slave for a travelling circus show, where he inhabits the role of impresario. Thus begins the bleak tale of Midori’s cruel mistreatment and repeated rape by the grotesque monsters that work the carny sideshow.

Both Maruo’s manga and Harada’s film adaptation are populated by a now familiar set of erotic-grotesque stock characters —  the carny sideshow impresario and his collection of “freaks” including the magician dwarf, the hermaphrodite, and a limbless performer similar to the “human caterpillar” (which reminds us of Rampo’s short story). Several forms of sexual fetishism are on display, and in particular the fetish of eyeball-licking (called oculolinctus, by the way), which is a favourite motif for Maruo.


Midori opens with a succession of images that flash quickly across the screen, accompanied by different voices that seem to call out a disconnected, nonsensical stream of words. According to Harada, these strangely poetic phrases are the sort you’d hear from carnival barkers back in the 1920’s (see clip below).

If you’re a fan of Anime, and particularly the more underground and darker examples of the genre, then Midori is definitely worth tracking down. It’s not an easy viewing – and it does have a relentlessly bleak ending—but it is a very faithful adaptation of Maruo’s “ero guro” classic and effectively conveys the very limited options available to a young girl without the benefit (or protection) of a family or husband in 1920’s Japan. WARNING: some animated puppies are squashed.

You can view the entire film here, at least for now.


Filed under Animation, Ero Guro Nansensu