Tetsuji Takechi (1912-1988)

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Birthplace:
Umeda, Kita-ku, Osaka Prefecture, Japan

Born:
December 10, 1912

Died:
July 26, 1988

In the 1960s, Takechi entered the film industry by producing controversial soft-core theatrical pornography. His 1964 film Daydream was the first big-budget, mainstream pink film released in Japan. After the release of his 1965 film Black Snow, the government arrested him on indecency charges. The trial became a public battle over censorship between Japan's intellectuals and the government. Takechi won the lawsuit, enabling the wave of softcore pink films which dominated Japan's domestic cinema during the 1960s and 1970s. In the later 1960s, Takechi produced three more pink films.

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Adaptation:
1968  The Mass Violation

Director:
1963  Women... Oh, Women!
1964  Crimson Dream
1964  Day-Dream
1965  Black Snow
1966  The Tale of Genji
1968  The Mass Violation
1968  Ukiyoe Cruel Story
1973  Madame Scandal
1981  Day Dream
1983  Oiran
1987  Daydream 2

Executive Producer:
1963  Women... Oh, Women!
1964  Crimson Dream
1964  Day-Dream
1965  Black Snow
1966  The Tale of Genji
1968  The Mass Violation
1968  Ukiyoe Cruel Story
1973  Madame Scandal
1981  Day Dream
1983  Oiran
1987  Daydream 2

Screenplay:
1963  Women... Oh, Women!
1964  Crimson Dream
1964  Day-Dream
1965  Black Snow
1966  The Tale of Genji
1968  The Mass Violation
1968  Ukiyoe Cruel Story
1973  Madame Scandal
1981  Day Dream
1983  Oiran
1987  Daydream 2

Writer:
1963  Women... Oh, Women!
1964  Crimson Dream
1964  Day-Dream
1965  Black Snow
1966  The Tale of Genji
1968  The Mass Violation
1968  Ukiyoe Cruel Story
1973  Madame Scandal
1981  Day Dream
1983  Oiran
1987  Daydream 2

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While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

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  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

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