Ero guro

Ero guro nansensu, frequently shortened to ero guro or just guro, (エログロ, ero-guro^?) is a literary and artistic movement originating c. 1930 in Japan. Ero guro puts its focus on eroticism, sexual corruption, and decadence. While ero guro is a specific movement, many of its components can be found throughout Japanese history and culture.

The term itself is an example of wasei-eigo, a Japanese combination of English words or abbreviated words: ero from "ero(tic)", guro from "gro(tesque)", and nansensu from "nonsense". In actuality the "grotesqueness" implied in the term refers to things that are malformed, unnatural, or horrific. Items that are pornographic and bloody are not necessarily ero guro, and ero guro is not necessarily pornographic or bloody. The term is often used incorrectly by western audiences to mean "gore"—depictions of horror, blood, and guts.

Ero guro nansensu, characterized as a "prewar, bourgeois cultural phenomenon that devoted itself to explorations of the deviant, the bizarre, and the ridiculous," manifested in the popular culture of Taishō Tokyo during the 1920s. Writer Ian Buruma describes the social atmosphere of the time as "a skittish, sometimes nihilistic hedonism that brings Weimar Berlin to mind." Its roots go back to artists such as Tsukioka Yoshitoshi, who, besides erotic shunga, also produced woodblock prints showing decapitations and acts of violence from Japanese history. Ukiyo-e artists such as Utagawa Kuniyoshi presented similar themes with bondage, rape and erotic crucifixion.

Ero guro's first distinct appearance began in 1920s and 1930s Japanese literature. The Sada Abe Incident of 1936, where a woman strangled her lover to death and castrated his corpse, struck a chord with the ero guro movement and came to represent that genre for years to come. Other like activities and movements were generally suppressed in Japan during World War II, but re-emerged in the postwar period, especially in manga and music.

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