I.K.U. | |
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Directed by | Shu Lea Cheang |
Written by | Shu Lea Cheang |
Produced by | Takashi Asai |
Starring | |
Cinematography | Tetsuya Kamoto |
Edited by | Kazuhiro Shirao |
Music by |
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Distributed by | Uplink Co. |
Release date |
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Running time | 90 minutes (Premiere) 74 minutes |
Country | Japan |
Language | Japanese / English |
I.K.U. (pronounced ai-kei-ju, abbreviated as iku ? ) is a 2000 independent film directed by Taiwanese-American experimental filmmaker Shu Lea Cheang. It was marketed as "a Japanese Sci-Fi Porn Feature". The film was partially inspired by Blade Runner (1982). I.K.U.'s premise involves a futuristic corporation sending shapeshifting cyborgs out into New Tokyo to collect "orgasm data" by means of sexual intercourse. The title is a pun on the Japanese word iku ( 行く ) which, in sexual slang, is used to express an orgasm. [1]
I.K.U. premiered at the 2000 Sundance Film Festival. It was the first pornographic film ever screened in the festival. Critical reception was poor.
The film is set in or about the year 2030. The multinational Genom Corporation is developing a product called the "I.K.U. Chip", which is plugged into a portable device allowing consumers to download and experience orgasms from the I.K.U. server without need of physical contact. The corporation sends their cybernetic shapeshifter Reiko, known as an I.K.U. Coder or replicant, to collect orgasm-related information catering to various sexual orientations. To collect the data Reiko transforms into an appearance pleasing to an individual or couple, engages the target(s) in sexual relations and transforms her right hand and forearm into a penis which is inserted into the recipient's vagina or anus during climax.
Reiko is directed on her missions by Genom employee Dizzy, known as an I.K.U. Runner. She has sex with various people such as a salaryman and a stripper, a young couple, a drug dealer and a hustler named Akira and a former museum curator–cum-hobo. She meets and is helped along the way by a retired I.K.U. Coder named Mash. Reiko is lured to a night club and seduced by Tokyo Rose, an agent of the rival Bio Link Corporation, who shuts her down with a computer virus and steals her data. Mash recovers Reiko and teaches her how to reboot herself through masturbation. Reiko manages to obtain enough data to complete her mission by having sex with Akira the Hustler, a sushi shop patron and Mash. Dizzy then extracts the data with a retrieval device called a Dildo Gun. Afterward, Reiko is retired and shut down. The Genom Corporation begins selling I.K.U. Chips in vending machines everywhere. Reiko reboots herself. [1]
The DVD edition of the film has two endings which may be selected via an onscreen menu. In the first ending, Mash takes Reiko to meet Dizzy. The two profess their love and drive away. In the second, Mash takes Akira to meet Dizzy and they proceed similarly. [2]
Producer Takashi Asai, founder of the underground and independent film production company Uplink, commissioned director and media artist Shu Lea Cheang to "make a sci-fi porn film". Cheang began writing the script with the intention of addressing Japanese censorship. Conflicts between the two began during the initial script writing process and lasted throughout production. Takashi wanted a traditional Japanese pink film, which integrated storyline and softcore sex, where Cheang aimed towards genre-defining American pornographic films along the lines of Behind the Green Door (1972), with hardcore sex throughout. Daily debates ranged from issues such as foreplay and sexual positions to fist fucking and penis size. [3]
Pornographic actress Mai Hoshino was hired for the lead role, Reiko, but disappeared three days before shooting began. Of the subsequent actresses auditioned, Cheang was unable to find one who was both able to act and willing to perform all of the sexual acts outlined in the script. Instead, seven actresses were selected and the lead role modified to incorporate the shapeshifting element, allowing the contentious hardcore scenes to be meted out between the seven. Even so, the hardcore acts were continually renegotiated throughout filming. [3]
The film was shot mainly in studio with some location shooting throughout Tokyo over a three-week period. Location shooting included scenes on the metropolitan highways where Andrei Tarkovsky shot the famous driving scene in Solaris (1972). [1] During shooting Cheang came into further conflict with crew members and the police. Cinematographer Tetsuya Kamoto, well known for his music video photography, refused to include himself in the onscreen action, hamedori style. Editor Kazuhiro Shirao, also a film director, stated that "if it becomes a real porno film, I stop working on it". [3] A Tokyo vice squad raided the set. [4]
Post-production took more than six months although the visual effects company, VJ E-MALE, spent eight months on the film. I.K.U. was completed in July 2000. [1]
According to director Shu Lea Cheang, approximately 40 percent of the audience walked out over the course of the film, predominately during the sex scenes. The exodus was not repeated at subsequent screenings when Cheang "spelled [the film] out and challenged the audience to stay." [5]
Critics generally disliked the film. [6]
Phil Freeman wrote: "It's clear that the filmmakers felt the addition of a high-tech sheen would somehow vault their little movie (it's only 74 minutes long) above the morass of mainstream porn. They were wrong, though. Porn is porn, and in this case the extra effort expended only serves to make the final product vaguely embarrassing. It's as if the producers were ashamed of what they were up to, and thought they could disguise it by blanketing the thing with the trappings of science fiction." [7]
I.K.U. premiered at the Sundance Film Festival in the Midnight program on January 29, 2000. [8] It was the festival's first-ever pornographic film selected for competition. [9]
The movie was released as a DVD in Japan in June 2006 by Up Link (アップリンク) [10] and in the United States by Music Video Distributors with the title I.K.U. (This Is Not Love This Is Sex). [11]
Annie M. Sprinkle is an American certified sexologist, performance artist, former sex worker, and advocate for sex work and health care.
Pornographic films (pornos), erotic films, adult films, sex films, 18+ films, or also known as blue movie or blue film, are films that present sexually explicit subject matter in order to arouse, fascinate, or satisfy the viewer. Pornographic films present sexual fantasies and usually include erotically stimulating material such as nudity (softcore) and sexual intercourse (hardcore). A distinction is sometimes made between "erotic" and "pornographic" films on the basis that the latter category contains more explicit sexuality, and focuses more on arousal than storytelling; the distinction is highly subjective.
Hustler is a monthly adult-targeted magazine published by Larry Flynt Publications (LFP) in the United States. Introduced in 1974, it was a step forward from the Hustler Newsletter, originally conceived by founder Larry Flynt as cheap advertising for his strip club businesses at the time. The magazine grew from an uncertain start to a peak circulation of around 3 million in the early 1980s; it has since dropped to approximately 500,000. Hustler was among the first major US-based magazines to feature graphic photos of female genitalia and simulated sex acts, in contrast with relatively modest publications such as Playboy. In the 1990s, Hustler, like several of its competitors, began featuring depictions of sexual penetration and oral sex.
Hardcore pornography or hardcore porn is pornography that features detailed depictions of sexual organs or sexual acts such as vaginal, anal, oral or manual intercourse, ejaculation, and fetish play. The term is in contrast with less-explicit softcore pornography. Hardcore pornography usually takes the form of photographs, films, and cartoons. Since the mid-1990s, hardcore pornography has become widely available on the internet, making it more accessible than ever before.
In Japan, pornography has unique characteristics that readily distinguish it from western pornography. Pornographic films are known as "adult videos" (AV) in Japan, so Japanese adult videos (JAV) refers to the Japanese Adult Video industry. Animated films are referred to as hentai in English, but in Japan the terms "adult anime" and "erotic animation" are used. In addition to pornographic videos and magazines featuring live actors, there are now categories of pornographic manga and anime, and pornographic computer games.
Pornography has existed since the origins of the United States, and has become more readily accessible in the 21st century. Advanced by technological development, it has gone from a hard-to-find "back alley" item, beginning in 1969 with Blue Movie by Andy Warhol, the Golden Age of Porn (1969–1984) and home video, to being more available in the country and later, starting in the 1990s, readily accessible to nearly anyone with a computer or other device connected to the Internet. The U.S. has no current plans to block explicit content from children and adolescents, as many other countries have planned or proceeded to do.
Softcore pornography or softcore porn is commercial still photography, film, or art that has a pornographic or erotic component but is less sexually graphic and intrusive than hardcore pornography, defined by a lack of visual sexual penetration. It typically contains nude or semi-nude actors involved in love scenes and is intended to be sexually arousing and aesthetically beautiful. The distinction between softcore pornography and erotic photography or art, such as Vargas girl pin-ups, is largely a matter of debate.
A facial is a sexual activity in which a man ejaculates semen onto the face of one or more sexual partners. A facial is a form of non-penetrative sex, though it is generally performed after some other means of sexual stimulation, such as vaginal sex, anal sex, oral sex, manual sex or masturbation. Facials are regularly portrayed in pornographic films and videos, often as a way to close a scene.
A stag film is a type of pornographic film produced secretly in the first two-thirds of the 20th century. Typically, stag films had certain traits. They were brief in duration, were silent, depicted hardcore pornography and were produced clandestinely due to censorship laws. Stag films were screened for all-male audiences in fraternities or similar locations; observers offered a raucous collective response to the film, exchanging sexual banter and achieving sexual arousal. Stag films were often screened in brothels.
Pornography has been defined as sexual subject material such as a picture, video, text, or audio that is intended for sexual arousal. Made for consumption by adults, pornography depictions have evolved from cave paintings, some forty millennia ago, to virtual reality presentations. A general distinction of adult content is made classifying it as pornography or erotica.
Boys in the Sand is a landmark American gay pornographic film, released early in the Golden Age of Porn. The 1971 film was directed by Wakefield Poole and stars Casey Donovan. It was the first gay porn film to include credits and to be reviewed by the film industry journal Variety, and one of the earliest porn films – after Andy Warhol's 1969 film Blue Movie, but preceding 1972's Deep Throat – to gain mainstream credibility.
Daydream is a 1981 Japanese pink film directed by Tetsuji Takechi. It is a remake of Takechi's 1964 pink film of the same name, and is considered the first hardcore pornographic film to be released theatrically in Japan.
Shu Lea Cheang is a Taiwanese-American artist and filmmaker who lived and worked in New York City in the 1980s and 1990s, until relocating to Europe in 2000. Cheang received a BA in history from the National Taiwan University in 1976 and an MA in Cinema Studies from New York University in 1979. Since the 1980s, as a multimedia and new-media artist, she has navigated topics of ethnic stereotyping, sexual politics, and institutional oppression with her radical experimentations in digital realms. She drafts sci-fi narratives in her film scenario and artwork imagination, crafting her own “science” fiction genre of new queer cinema. From homesteading cyberspace in the 1990s to her current retreat to post net-crash BioNet zone, Cheang takes on viral love, bio hack in her current cycle of works.
A pornographic film actor or actress, pornographic performer, adult entertainer, or porn star is a person who performs sex acts on video that is usually characterized as a pornographic movie. Such videos tend to be made in a number of distinct pornographic subgenres and attempt to present a sexual fantasy; the actors selected for a particular role are primarily selected on their ability to create or fit that fantasy. Pornographic videos are characterized as either softcore, which does not contain depictions of sexual penetration or extreme fetishism, and hardcore, which can contain depictions of penetration or extreme fetishism, or both. The genres and sexual intensity of videos is mainly determined by demand. Depending on the genre of the film, the on-screen appearance, age, and physical features of the actors and their ability to create the sexual mood of the video is of critical importance. Most actors specialize in certain genres, such as straight, bisexual, gay, lesbian, bondage, strap-on, anal, double penetration, semen swallowing, teenage, orgy, age roleplay, fauxcest, interracial or MILFs and more.
Gay pornography is the representation of sexual activity between males. Its primary goal is sexual arousal in its audience. Softcore gay pornography also exists; which at one time constituted the genre, and may be produced as beefcake pornography directed toward heterosexual female, homosexual male, and bisexual audiences of any gender.
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Feminist pornography, also known by other terms in internet such as 'ethical porn' or 'fair-trade porn' is a genre of film developed by or for those within the sex-positive feminist movement. It was created for the purpose of promoting gender equality by portraying more bodily movements and sexual fantasies of women and members of the LGBT community.
Yukio Cho, known professionally as Akira the Hustler, is a Japanese artist, writer, actor, activist, and former sex worker.