Sachi Hamano

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Sachi Hamano
Born Sachiko Suzuki
(1948-03-19) March 19, 1948
Tokushima Prefecture, Japan
Occupation Film director
Years active 1971 present
Website
http://www.h3.dion.ne.jp/~tantan-s/

Sachi Hamano (浜野佐知 Hamano Sachi) aka Sachiko Hamano (浜野佐知子 Hamano Sachiko) and Chise Matoba (的場ちせ Matoba Chise) (born March 19, 1948), is a Japanese film director. She is the most prolific and written-about female pink film director.[1]

Life and career

Sachi Hamano was born as Sachiko Suzuki in Tokushima Prefecture on March 19, 1948.[1][2] While in high school, Hamano decided she wanted to become a film director.[3] She studied photography for a while in college in Tokyo, then quit to work in film.[1]

"In my 30 years of making porn films, I've always wanted to present them from a woman's perspective."
-- Sachi Hamano[4]

Though the film industry was male-dominated and reluctant to hire a female director, Hamano was able to begin working as an assistant director at independent studios beginning in 1968.[3] Early in her career, at the advice of film producers, Hamano dropped the feminine "ko" ending from her name, Sachiko.[1] She has also used the name Chise Matoba for directing credits.[5] She worked for a while at Kōji Wakamatsu's Wakamatsu Pro, then for other major pink film directors including Genji Nakamura.[1] She made her debut as a director in 1971, with Million Film in 17-Year-Old Free Love Tribe (17才好き好き族) (released 1972).[1][3][6]

With the goal of making films from a woman's perspective, in 1984, Hamano founded her own film production company, Tantansha.[3] As a producer and director, she has released over 300 films.[3] For ENK, Hamano filmed the 1990 gay pink film Blazing Men.[7] Her 1997 film, Whore Hospital was given Honorable Mention at the Pink Grand Prix.[8] In 1998, with the financial support of over 12,000 donations from women throughout Japan, she made the film, In Search of a Lost Writer: Wandering the World of the Seventh Sense (第七官界彷徨-尾崎翠を探して), based on the life and work of the female author, Midori Osaki.[3] The film was given the Amari Hayashi Prize at the 2000 Japanese Independent Film Festival.[2]

In 2001 she filmed Lily Festival (2001), based on Hoko Momotani's novel about sexuality among senior citizens.[3] The film was given the Best Feature Film award at the Philadelphia International Gay & Lesbian Film Festival in 2003.[9][10] In 2006, Hamano returned to Midori Osaki, filming The Cricket Girl, based on one of Osaki's novels.[3] Hamano published her autobiography, When a Woman Makes a Film in 2005.[11]

Partial filmography

Awards

  • Honorable Mention, Pink Grand Prix, for Whore Hospital[8]
  • 4th Women's Culture Prize in 2000[2][3]
  • Japanese Independent Film Festival, 2000[2]
  • 9th Festival Internazionale Cinema Delle Donne, 2' Premio[3]
  • Philadelphia International Gay & Lesbian Film Festival, Best Feature Film
  • Mix Brasil 11, Best Feature Film

Bibliography

English

Japanese

Notes

  1. 1.0 1.1 1.2 1.3 1.4 1.5 Sharp, Jasper (2008). Behind the Pink Curtain: The Complete History of Japanese Sex Cinema. Guildford: FAB Press. p. 296. ISBN 978-1-903254-54-7. 
  2. 2.0 2.1 2.2 2.3 "浜野 佐知" (in Japanese). Director's Guild of Japan. Archived from the original on 2007-10-07. Retrieved 2009-07-22. 
  3. 3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 "Introduction and Background: "The Cricket Girl": About the Director". Sachi Hamano's homepage. Retrieved October 15, 2010. 
  4. Hamano, Sachi quoted in Yu, Sen-lun (2002-09-18). "Pornography from a woman's perspective". Taipei Times. Retrieved 2009-12-11. 
  5. Sharp, p. 297.
  6. "Pink Films History" (in Japanese). P.G. Web Site. Retrieved 2009-07-22. 
  7. Sharp, p. 305.
  8. 8.0 8.1 "Best Ten of 1997 (1997年度ベストテン)" (in Japanese). P*G Website. Retrieved January 18, 2009. 
  9. "Awards for Yurisai (2001)". Internet Movie Database. Retrieved 2009-07-22. 
  10. "FESTIVAL WINNERS: JURY COMPETITION WINNERS: BEST FEATURE FILM (LESBIAN)". International Gay & Lesbian Film Festival. Archived from the original on 2008-01-09. Retrieved 2009-07-22. 
  11. Sharp, p. 298.
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