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Kitan Club · December 1962 Issue

Summary

The December 1962 issue of Kitan Club combines rope-bondage photography, fetish illustration, historical and psychological essays, confessional writing, serialized fiction, film commentary, reader contributions, and extensive community-oriented back matter. The issue opens with advertisements and a formal contents page, followed by a long sequence of gravure photographs. These portfolios emphasize cloth gags, upper-body bindings, kneeling and seated postures, compact floor ties, and the visual contrast between rope, skin, patterned fabric, and domestic interiors. Interspersed illustrations broaden the repertoire into imagined punishment scenes involving restraints, chains, forced procedures, female ritual suicide, corporal discipline, and fetishized objects.

The principal prose section begins with Arai Tamotsu’s illustrated discussion of the conception and visual design of cigarette torture. The article treats smoking as both an instrument of domination and a compositional element in fetish art. Tsukiji Ichirō’s research feature on the deaths and severed heads of female warriors then examines historical and legendary accounts of women facing execution, decapitation, ritualized defeat, and the aesthetic treatment of the severed head. Tsukamoto Tetsuzō’s account of an actual bondage-photo session shifts from historical speculation to documentary narration, describing correspondence with a married female reader, preparations, travel, posing, rope application, photography, and the participant’s reactions.

The middle of the issue moves through confession, psychology, fiction, travel fantasy, medicalized fetishism, and theatrical role-play. A first-person essay on fascination with cross-dressing considers clothing, gender presentation, secrecy, and marital life. Other contributions discuss narcissism, married-couple SM play, sadistic female behavior, enemas and nursing scenarios, and imagined encounters in foreign or speculative settings. The recurring serial “Woman and Snake” and the long SM novel “Somewhere in the Universe” provide extended fictional anchors, while shorter dialogue pieces and experiential essays create frequent changes in tone and format.

The later section contains tattoo-centered confession, commentary on the film Harakiri, essays imagining female abdominal cutting, a discussion of women’s intimate garments, a mountain-villa narrative, and an examination of abnormality in film. A bondage calendar feature presents the motif of “a woman for each month,” and the final substantial fiction, “The Man Possessed by Glass,” carries the literary material into the closing pages. Reader letters, response columns, questionnaires, classified exchanges, editorial notices, tables, and publication information conclude the issue, demonstrating the magazine’s role as a network through which readers shared fantasies, experiences, criticism, requests, and personal contacts.

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Analysis Notes

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