Hoi Yan Yau – författare

Unlike many other books on pornography which concentrate on arguments about restricting or not restricting pornography, this book focuses on the production of adult videos. It outlines and examines the industrial dynamics of the industry, its strategies, technological capabilities and organisational structure. It discusses the socialisation of those who participate in the industry, the role of censorship, the nature of markets and the wider cultural impact of the industry.

Unlike many other books on pornography which concentrate on arguments about restricting or not restricting pornography, this book focuses on the production of adult videos. It outlines and examines the industrial dynamics of the industry, its strategies, technological capabilities and organisational structure. It discusses the socialisation of those who participate in the industry, the role of censorship, the nature of markets and the wider cultural impact of the industry.

This book explores censorship, particularly film and video censorship, in Japan in modern times. It shows how most censorship has been the film and video industry exercising self-censorship and how this system has been problematic in that it has allowed dominant players in the industry to impose their own standards and exclude independent filmmakers. It outlines notable obscenity cases and discusses how industry self-censorship bodies have been undermined both by industry outsiders setting up their own alternative regimes and by the industry self-censorship bodies themselves being prosecuted for obscenity. The book also examines the conflict between the obscenity law, introduced in Meiji times when Japan was importing Western models, and the freedom of speech law, which was put in place by the US occupation administration after World War II. The book concludes by assessing the current state of censorship in Japan and likely future developments.

This book explores censorship, particularly film and video censorship, in Japan in modern times. It shows how most censorship has been the film and video industry exercising self-censorship and how this system has been problematic in that it has allowed dominant players in the industry to impose their own standards and exclude independent filmmakers. It outlines notable obscenity cases and discusses how industry self-censorship bodies have been undermined both by industry outsiders setting up their own alternative regimes and by the industry self-censorship bodies themselves being prosecuted for obscenity. The book also examines the conflict between the obscenity law, introduced in Meiji times when Japan was importing Western models, and the freedom of speech law, which was put in place by the US occupation administration after World War II. The book concludes by assessing the current state of censorship in Japan and likely future developments.

This book explores the debate between those who argue that globalisation is leading to worldwide cultural homogeneity, with American cultural good predominating, and those who argue that cultural goods are always adapted and contextualised in the particular setting in which they are used. Based on extensive original research on how Japanese adult videos are consumed in Taiwan, it presents a rich picture of how Japanese adult videos are transformed into something Taiwanese, and how they are incorporated into both male and female Taiwanese sexual culture.

This book explores the debate between those who argue that globalisation is leading to worldwide cultural homogeneity, with American cultural good predominating, and those who argue that cultural goods are always adapted and contextualised in the particular setting in which they are used. Based on extensive original research on how Japanese adult videos are consumed in Taiwan, it presents a rich picture of how Japanese adult videos are transformed into something Taiwanese, and how they are incorporated into both male and female Taiwanese sexual culture.