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is a concept or movement or sub-genre, still somewhat loosely defined, that has emerged inside multiple schools of Japanese art and music. The words "''ero guro''" or "''ero guro nansensu''" are derived from the English words "erotic grotesque nonsense", and is sometimes shortened to simply guro (though this shortening is usually used to describe pornography). Regardless of nomenclature, the terms guro and ero guro are widely recognized as codewords denoting artwork that depicts extreme/bizarre violence (mutilation, dismemberment, scatology, etc.) in an erotic manner. HISTORY ''Ero guro's'' first distinct appearance began in 1920s and 1930s Japanese Literature . The Sada Abe Incident of 1936 struck a chord with the ''ero guro'' movement, and came to represent that genre for years to come.1 This and other activities and movements were generally suppressed in Japan during World War II but re-emerged in the postwar period, especially in Manga and Music . {Link without Title} Over time, the ''ero guro'' movement's influence expanded into parts of Japanese Theatre , Art , Manga , and eventually film and music. IN VISUAL MEDIA The typifying element of ''ero guro'' visual art is the macabre intermingled with sexual overtones. Often the erotic element, even when not explicit, is merged with grotesque themes and features—somewhat similar to the works of H. R. Giger . Others produce ''ero guro'' as a genre of Japan ese Pornography and Hentai involving Blood , Gore , Disfiguration , Violence , Mutilation , Urine , Enemas , or Feces . Examples of well-known ''guro'' '' Mangaka '' include Suehiro Maruo , Shintaro Kago , Jun Hayami , Toshio Maeda , Henmaru Machino , Horihone Saizou , and Waita Uziga . The modern genre of Tentacle Rape began within the category of ''ero guro'' (although it has much older roots in Japanese art; see '' The Dream Of The Fisherman's Wife ''), but was so popular that it is now usually considered separately. ''Ero guro'' is also an element of many Japanese horror films and '' Pinku Eiga '', particularly of the 1960s and 70s, such as Teruo Ishii 's ''Horror of the Malformed Men'' (江戸川乱歩全集 恐怖奇形人間, 1969) and Yasuzo Masumura 's ''Blind Beast'' (盲獣, 1969), both based on the works of Edogawa Rampo . A more recent example of ''ero guro'' in cinema is Sion Sono 's ''Strange Circus'' (奇妙なサーカス, 2005). LEGALITY Many countries prohibit pornography that is deemed to incite violence. This may be specifically because of the concern that the portrayed acts might be copied by mentally disturbed sadists, or simply as an outgrowth of the belief that pornography, especially hardcore pornography, objectifies and dehumanizes people. As such, ''guro'' would likely be considered illegal in countries having such legislation. However, the fact that most ''guro'' artwork is clearly that—drawn or photomanipulated images not portraying reality—prevents most law enforcement agencies (especially online) from making the pursuit of such material a priority, concentrating instead on material such as Child Pornography . IN MUSIC ''Ero guro'' bands (most often seen as a sub-genre within Visual Kei or Post Visual by some fans) typically use shock visuals, as well as lyrics and live imagery, but look less feminine than traditional visual kei. Within the erotic and shock value of the bands' music and performance, there is also humour. It has long been rumoured that Cali≠Gari were responsible for the application of the term to music. Bands usually described as ''ero guro'' include Velvet Eden , Kinniku Shōjo Tai ， Guruguru Eigakan , Inugami Circus-dan , Rauya , Merry and Cali≠Gari . Ero guro puts its focus on eroticism, sexual corruption and decadence. {Link without Title} . NOTES REFERENCES
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