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The onanie: Kairaku chôkyô-hen
Movie

The onanie: Kairaku chôkyô-hen

1986 • N/A

Woke Score
4
out of 10

Plot

N/A

Overall Series Review

The film is an obscure Japanese Pink Film from 1986, a genre that focuses almost exclusively on sexual themes and power dynamics, placing it outside the typical scope of Western-centric 'woke' criticism. The narrative, as inferred from the title, 'The Onanie: Pleasure Training Chapter,' centers on sexual subjugation, training, or a woman's journey of sexual awakening through non-normative means. This context leads to very low scores in categories related to Western culture, race, and religion, as these themes are entirely absent from the film's setting and focus. The higher scores stem exclusively from the film's explicit deconstruction of traditional sexual roles and structures, which is the core of its exploitation genre.

Categorical Breakdown

Identity Politics1/10

The film is entirely Japanese, dealing with internal Japanese sexual dynamics. There is no presence of 'whiteness' to vilify, no focus on historical race-swapping, and no lecture on intersectional hierarchy. The narrative exists outside of the framework of Western identity politics.

Oikophobia1/10

The movie is focused on sexual dynamics within a contemporary Japanese setting. There is no hostility toward Western civilization, nor is Japanese heritage or ancestry deconstructed or demonized. The narrative does not engage in civilizational self-hatred.

Feminism7/10

The core plot, inferred from the title 'Pleasure Training,' centers on a deliberate deconstruction of normative male-female sexual relations. The narrative promotes a non-complementary view of gender dynamics through a focus on sexual training and power dynamics, subverting traditional gender roles and expectations. This subversion places sexual autonomy/control at the center, separate from the celebration of motherhood or complementary male/female roles.

LGBTQ+8/10

The genre and likely content, focused on sexual 'training' and masturbation as the central theme, inherently centers alternative or non-normative sexual practices. Making alternative sexuality the entire plot's focus strongly deconstructs the normative structure of traditional male-female pairing as the standard and makes sexual expression entirely public rather than private.

Anti-Theism1/10

The narrative is focused entirely on explicit sexual dynamics and pleasure. There is no commentary, either positive or negative, regarding religion, particularly Christianity. The theme of traditional religion as the root of evil is completely absent. Morality is subjective in a sexual context, but not in a spiritual one.