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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">japanjournal</journal-id><journal-title-group><journal-title xml:lang="ru">Японские исследования</journal-title><trans-title-group xml:lang="en"><trans-title>Japanese Studies in Russia</trans-title></trans-title-group></journal-title-group><issn pub-type="epub">2500-2872</issn><publisher><publisher-name>Association of Japanologists; Institute of China and Modern Asia of the Russian Academy of Sciences</publisher-name></publisher></journal-meta><article-meta><article-id custom-type="elpub" pub-id-type="custom">japanjournal-137</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>Статьи</subject></subj-group></article-categories><title-group><article-title>Заметки о японском кино: все оттенки розового</article-title><trans-title-group xml:lang="en"><trans-title>Notes on the Japanese Cinema: All Shades of Pink</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Катасонова</surname><given-names>Елена Леонидовна</given-names></name><name name-style="western" xml:lang="en"><surname>Katasonova</surname><given-names>Elena L.</given-names></name></name-alternatives><email xlink:type="simple">katasonova@rambler.ru</email><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff-alternatives id="aff-1"><aff xml:lang="ru"><institution>Институт востоковедения РАН</institution><country>Россия</country></aff><aff xml:lang="en"><institution>Institute of Oriental Studies, Russian Academy of Sciences</institution><country>Russian Federation</country></aff></aff-alternatives><pub-date pub-type="collection"><year>2016</year></pub-date><pub-date pub-type="epub"><day>16</day><month>02</month><year>2022</year></pub-date><volume>0</volume><issue>3</issue><fpage>57</fpage><lpage>69</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Катасонова Е.Л., 2022</copyright-statement><copyright-year>2022</copyright-year><copyright-holder xml:lang="ru">Катасонова Е.Л.</copyright-holder><copyright-holder xml:lang="en">Katasonova E.L.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://www.japanjournal.ru/jour/article/view/137">https://www.japanjournal.ru/jour/article/view/137</self-uri><abstract><p>На протяжении последних 60 лет розовые фильмы ( пинку-эйга ) являются ведущим киножанром Японии и одним из главных сегментов японской киноиндустрии. И, тем не менее, вплоть до наших дней бóльшая часть этой кинопродукции была обойдена вниманием критиков и историков кино. Однако значение этого жанра не подвергается сомнению. Такие всемирно известные режиссеры, как Куросава Киёси и Такита Ёдзиро, так же, как и мастера экспериментального кино - Дзэдзэ Такахиса и Соно Сион, дебютировали в этом жанре.</p></abstract><trans-abstract xml:lang="en"><p>For the past 60 years pink films (pink-eiga) have represented the biggest film genre in Japan, being one of the most vital segments of Japanese film industry. But till present time most pink-eiga productions have gone unnoticed by film critics and film historians. Nevertheless, the importance of this genre for the Japanese cinema is beyond any doubt. Worldwide renowned film directors like Kurosawa Kiyoshi and Takita Yojiro, as well as experimental filmmakers, such as Zeze Takahisa and Sono Sion, have started with pink eiga.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>пинку-эйга</kwd><kwd>эро-гуро-нонсенс</kwd><kwd>эротика</kwd><kwd>гротеск</kwd><kwd>абсурд</kwd><kwd>малобюджетный фильм</kwd><kwd>независимая студия</kwd><kwd>роман-порно</kwd><kwd>пинку-ваорэнсу</kwd><kwd>pink-eiga</kwd><kwd>ero-guro nonsence</kwd><kwd>low-budget film</kwd><kwd>independent production company</kwd><kwd>roman-porno</kwd><kwd>pink-violence</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Аkasaka Daisuke. 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