She teamed up with "AV Queen" Hitomi Kobayashi in the February 2001 theatrical release, Kyōko Aizome vs. Hitomi Kobayashi: Sexual Excitement Competition (愛染恭子ＶＳ小林ひとみ 発情くらべ).
More DetailsHide DetailsAizome both starred in and directed the film, which was released by Nikkatsu's post-Roman porn distributor of theatrical pornography, Excess films. An adult video starring the two actresses and also directed by Aizome followed in March. Entitled Lesbian Wives, the video had Aizome and Kobayashi playing the wives of two yakuza bosses who become engaged in a lesbian relationship. Two years later, she directed the AV Lesbian Politicians (2003), in which she also co-starred with the popular award-winning AV actress Ai Kurosawa.
In 2001 Aizome was writing a sex- and health-advice column for women in Japan, titled "Auntie Agony".
She retired from regular performances in pornography in 1994, but continued to act in erotic films occasionally in later years.
More DetailsHide DetailsShe continued working behind the camera in the industry in various capacities including writing and directing.
Aizome gained an international audience in the 1986 Traci Lords film, Traci Takes Tokyo.
More DetailsHide DetailsWith her name mis-credited as "Kyōko Izoma", the porn-video was shot in Tokyo before Lords' scandal, and is therefore now illegal in the U.S. Her lesbian scene with Lords was reused in Beverly Hills Copulator.
After Daydream, Aizome was active in acting and directing in Japan's prolific adult video and pink film industries. About 1986, in one of her more remarkable performances, Aizome had her hymen surgically restored so that it could be broken during the film.
More DetailsHide DetailsPreviously a common procedure, hymen restorations went out of favor in Japan about the time of Aizome's use of it. The doctor who performed the restoration reports that the last time he did this surgery was on a couple in their 50s who, after seeing Aizome's film, wished to undergo the operation for their second honeymoon. In an article on the procedure, Aizome told Shukan Bunshun, "They strung a thread almost like a piano wire through the entrance to my vagina and pulled it like a drawstring to recreate the hymen. They give your privates a local anesthetic, so the operation itself doesn't really hurt. I really felt like a virgin again."
While engaged in stripping, she was arrested twice in 1983 for indecent exposure.
More DetailsHide DetailsShe used her jail time to review her career and rededicate herself to a life in adult entertainment. She also resolved to build a two-story, six-bedroom house in Chiba Prefecture, which she gave to her mother.
Takechi Tetsuji filmed Daydream for the third time in 1987, as Daydream 2 (Hakujitsumu Zoku), and again hired Aizome for the lead role. According to the Weissers, each filming of Daydream had become progressively more exploitive, with the last, imported to the United States under the title Captured For Sex having the lowest production values and focusing most on sex and a torture orgy.
She made her debut in the still-young AV industry in November 1981 with April of Lust for director Tadashi Yoyogi, making her one of Japan's earliest AV idols.
More DetailsHide DetailsHer name became a marketing tool and was used in the titles of such later theatrical releases as Yoyogi's Kyōko Aizome's Somber Reminiscence (Aizome Kyōko Kareinaru Tsuioku) (1983) and Shinya Yamamoto's Kyōko Aizome's Widow's Boarding House (Aizome Kyōko no Mibōjin Geshuku) (1984).
Aizome's fame resulting from Daydream also led her to embark on a successful live-performance career in striptease, which lasted until her retirement in July 1994.
At first, taking the stage name Kyōko Aoyama, she was soon appearing in films such as director Shinya Yamamoto's Molester's Subway and "violent pink" director Yasuharu Hasebe's 1978 Nikkatsu Roman Porno, Raping! (Yaru!).
More DetailsHide DetailsShe had a leading role in one of director Noboru Tanaka's major Roman Porno films, Pink Salon: Five Lewd Women (1978), based on the erotic novel, Five Licentious Women aka Five Women Who Loved Love by Ihara Saikaku. She also appeared in the seventh episode of Nikkatsu's Koichiro Uno series, director Akira Katō's Koichiro Uno's Moist And Steamy (1979), and the following year she worked under director Noboru Tanaka again for his Nami (1980), the third entry in Nikkatsu's ground-breaking Angel Guts series.
Pioneer pink film director Tetsuji Takechi noticed Aizome in one of her nude photo magazine appearances. Pinku eiga, or "pink films", are the softcore genre of sex-film which dominated Japan's domestic cinema during the 1960s and 1970s. Tetsuji had made Daydream (1964), the first big-budget pink film. He chose Aizome to star in his hardcore remake of this film, also called Daydream (1981), giving the actress her leading-role debut. Japan's first theatrically released film featuring hardcore sex, Aizome added to the controversy surrounding the film by admitting to having performed actual sexual intercourse on camera. Though, as Japanese law required, sexual organs and pubic hair were fogged on screen, the Asahi Shimbun calls it Japan's first hardcore pornographic movie. By 1981, hardcore AVs (adult videos) were already starting to win over the adult entertainment audience in Japan, but the film became a hit with theatrical audiences.
Kyōko Aizome was born in Noda Chiba Prefecture. She grew up in a troubled household, her father was a police officer who beat his wife, and her parents divorced about 1974, when Aizome was 16 years old.
More DetailsHide DetailsSoon after graduation from high school, Aizome was scouted in Tokyo's Shinjuku neighborhood by a photographer for nude magazines. She saw nude modeling as a stepping-stone into a career in entertainment.
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