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When this was not done, the most common alternative techniques are digital scrambling, covering the prohibited area with a black box or a fuzzy white spot, known as a mosaic or "fogging." Some have claimed that it is this censorship that gives the Japanese erotic cinema its particular style.

Donald Richie says, "American pornography is kept forever on its elemental level because, showing all, it need do nothing else; Japanese eroductions have to do something else since they cannot show all.

The stultified impulse has created some extraordinary works of art, a few films among them.

None of these, however, are found among eroductions." Richie is making a distinction between the erotic films of the major studios such as Nikkatsu and Toei as against the low-budget pink films produced by independents such as OP Eiga.

Until the early 2000s, they were almost exclusively shot on 35mm film.

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Foreign films of this time, such as Ingmar Bergman's Summer with Monika (1953), Louis Malle's Amants (1958), and Russ Meyer's Immoral Mr.

Teas (1959) introduced female nudity into international cinema, and were imported to Japan without problem.

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This encompasses everything from dramas to action thrillers and exploitation film features.

Though Japan's major studios, such as Nikkatsu and Shochiku made occasional forays into erotica in the 1960s, such as director Seijun Suzuki's Gate of Flesh (1964)—the first mainstream Japanese film to contain nudity, the majority of erotic films were made by the independents.

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