Pres­ent Histories
Imaoka Shinji’s Pink Film Lunch Box was a dif­fer­ent film when it was shown
on the Pink Film specialty theater cir­cuit compared to its ­ l ater run in the leg-
endary Tokyo minitheater, Eurospace. The title was adjusted to accommo-
date this move between spaces, indeed to signify it. While the literal transla-
tion of the Pink release is Mature ­ Woman in Heat Ball Licking (Jukujo hatsujō
tamashaburi), for its minitheater release it was called Blessing (Tamamono),
and on the international festival cir­cuit Lunch Box (O-­Bento). In each of ­these
cases, audiences viewed the film in a dif­fer­ent context, with dif­fer­ent expec-
tations and dif­fer­ent assignations: sex film, indie-­art ­ house film, world cin-
ema. Imaoka’s film is representative of a new kind of Pink film—if it can still
be called that—­ th at is more mobile across various ­ spaces and media chan-
nels, and is compatible with distinct audiences and dif­fer­ent viewing frame-
works. It adjusts to a media ecol­ o gy that demands a high degree of flexibility
of moving-­image works across dif­fer­ent kinds of screens, and of characters
and narratives across media. Though it cannot completely shed its Pink Film
origins, it nonetheless is not quite a Pink film anymore; it is not strictly bound
to the set of meanings and spaces that the industrial genre of Pink Film or­ga­
nized. Within the new media ecol­ o gy, industrial genres cannot form in the
same way they previously did. This points to a number of questions: What is
the ­ future of media objects in a new media ecol­ogy that emphasizes mobility
The question of fiction is first a question regarding the distribution of places.
—­jacques ranciÈre, “The Distribution of the Sensible: Politics and Aesthetics”
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