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Porno series. Videos were quickly taking over as Japan's number one form of adult entertainment and the pinku theater companies were going under. Nikkatsu finally experienced the demise of its empire in 1993, when it was forced to declare bankruptcy. However, though the greatest proliferator of pinku eiga films had seen its own success wane, the genre as a whole could not be suppressed.

Pinku eiga films are still produced to this day. Rejuvenated by directors such as Toshiya Ueno, Shinji Imaoka, Yoshitaka Kamata, Toshiro Enomoto, Yuji Tajiri, Mitsuru Meike and Rei Sakamoto, the culture lives on. Productions today are more artistic and introspective than ever before, and these directors specifically are heralded as "The Seven Lucky Gods of Pink."

Pinku eiga remains a part of Japanese history that influences the country, and the world, with its shocking nature and disregard for morality. Its reach is far; many of the exploitation films produced in America owe some thanks to the genre. Perhaps franchises such as "Saw" and "Hostel" would never had been made were it not for the Japanese pushing the envelope and showing what may lie beneath a cultured visage. Even the "low art" of pornography can engender a change in global culture.

Sources (listed):
http://en.wikipedia.o rg
http://www.midnighteye.com
ht tp://www.clas.ufl.edu/users/jm urphy/JPT3500file/JPT.Projectf ile/Jpt/Jpoporn.html
http://www .medievidenskab-odense.dk/inde x.php?id=57
http://www.horscham p.qc.ca/new_offscreen/ecstasy_ angels.html
http://www.filmfort ress.com/film/cyborgs_essay/

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