Akio Jissoji was a Japanese television and film director best known outside Japan for the 1960s TV series Ultraman and Ultra Seven, as well as for his auteur erotic ATG-produced Buddhist trilogy Mujō (無常), Mandala (曼陀羅), and Uta (哥). He was also known for his film adaptations of Japanese horror author Rampo Edogawa. Jissoji possessed a very distinctive visual style that was notable even in Japanese cinema which is known internationally for its visual style. Every project he directed, from children's action shows to the most disturbing adult films had an uncompromising approach to cinematic story telling. His episodes of the Ultraman TV shows are unique and quite unusual for children's television. His career is also unusual in that he went back and forth from children's television to film projects that were sexually provocative in some way or another. It is perhaps this aspect of his work that has prevented wider distribution of his films. Sadomasochistic and non-consensual sexual practices are featured in many of his film works with women receiving the brunt of the abuse. Another recurring theme was to pull the camera back and reveal the set his actors were working on.
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Biography
Akio Jissoji was a Japanese television and film director best known outside Japan for the 1960s TV series Ultraman and Ultra Seven, as well as for his auteur erotic ATG-produced Buddhist trilogy Mujō (無常), Mandala (曼陀羅), and Uta (哥). He was also known for his film adaptations of Japanese horror author Rampo Edogawa. Jissoji possessed a very distinctive visual style that was notable even in Japanese cinema which is known internationally for its visual style. Every project he directed, from children's action shows to the most disturbing adult films had an uncompromising approach to cinematic story telling. His episodes of the Ultraman TV shows are unique and quite unusual for children's television. His career is also unusual in that he went back and forth from children's television to film projects that were sexually provocative in some way or another. It is perhaps this aspect of his work that has prevented wider distribution of his films. Sadomasochistic and non-consensual sexual practices are featured in many of his film works with women receiving the brunt of the abuse. Another recurring theme was to pull the camera back and reveal the set his actors were working on.
