October 1960

The fifth collection of Gaho Fuzoku Kitan is organized as a densely illustrated survey of bondage photography, punishment imagery, erotic art, translated libertine literature, historical melodrama, crime reportage, and sensational foreign narratives. Its opening color portfolio places restrained women against weathered stone, shadowed interiors, garden architecture, and an outdoor veranda. The formal contents spread then divides the issue into three major gravure groups, illustrated portfolios, literary adaptations, documentary pieces, and historical fiction. The first photographic sequence develops a visual vocabulary of quiet melancholy and constrained display. Models are posed on tatami, beside garden plants, at a bar counter, against a pillar, on a chair, and along a veranda. Rope is treated not only as restraint but as a compositional line that frames the torso, isolates limbs, and links the body to furniture or architecture. The second gravure becomes more elaborate and theatrical, introducing a cot-like platform, chains, trees, rocks, baskets, improvised wooden devices, and staged attacks. These images alternate between compact floor positions, upright restriction, backward arching, and deliberately unstable postures. An illustrated interlude by Tagami Keiko and Ema Miku catalogues imagined torments involving steam, inverted hair suspension, wrist suspension, a pulley-driven device, and a woman threatened with rats. The third gravure returns to photography in modern interiors, notably a piano setting, tatami rooms, tiled bathing spaces, and dimly lit furniture. Its mood shifts from posed stillness toward implied interrogation and assault, with blindfolds, pressure devices, manual restraint, and exhausted aftermaths. The middle section expands the magazine's historical and international scope. An abnormal or grotesque secret-picture exhibition reproduces scenes of whipping, colonial punishment, public execution, torture, humiliation, and comic cruelty. A further gallery of women in riding dress and fetish costume is followed by Sasamura Hiroshi's essay on cruelty created through tricks and stage illusion. The continuation of the Marquis de Sade's The Prosperities of Vice supplies the issue's principal literary treatment of libertinism and institutional cruelty. The later prose section moves through massacre, urban and foreign danger, historical obsession, and crime spectacle. Articles describe mass killing, women in unusual or dangerous situations, arctic and desert ordeals, and a guillotine narrative illustrated by Ema Miku. A photographic crime feature presents staged murder scenes in outdoor and domestic locations. The issue closes with two illustrated period tales, “Love's Obsession Becomes a Serpent” and “The Torment of Kichiya's Mad Love,” whose ukiyo-e-inspired drawings connect erotic violence, jealousy, supernatural vengeance, and Edo-period theatricality. The final page functions as a pictorial coda, returning to the magazine's recurring hierarchy of domination and submission.

Title	Author	Printed Pages	PDF Pages
A Melancholy Moment	Uncredited	3	10
Midday Is Quiet	Uncredited	4	11 –12
White Fish at the Stand	Uncredited	5	13 –14
Bound with Her Back to a Pillar	Uncredited	6	15 –16
Chair-Top Cruelty	Uncredited	9	17 –18
Receiving the Rope Marks	Uncredited	10	19 –22
Hanging-Neck Doll	Uncredited	15	23 –24
Pole Torment	Uncredited	16	25
Prepared Alive on a Tray	Uncredited	17	26 –28
Chain Bondage	Uncredited	20	29 –30
Melancholy Flower	Uncredited	22	31 –32
A Cast-Aside Posture	Uncredited	24	33 –34
An Unusual Wooden Horse	Uncredited	26	35 –36
Rock Sliding	Uncredited	28	37 –38
Cargo in a Basket	Uncredited	30	39 –40
Attack of the Karasu-Tengu	Uncredited	32	41
Steam Torment	Tagami Keiko	34	42
Inverted Hair Suspension	Tagami Keiko	35	43
Wrist Suspension	Tagami Keiko	36	44
Flower-Wheel Torment Device	Ema Miku	37	45
Eat the Rats	Ema Miku	38	46
Rear-Hand Suspension	Tagami Keiko	39	47
A Scene with a Piano	Uncredited	40	48 –50
A Delicate Mystery of the Female Body	Uncredited	45	51 –54
Inverted Shrimp Suspension	Uncredited	49	55 –56
A Pose Awaiting Cruelty	Uncredited	51	57 –59
A Delicate Mystery of the Female Body	Uncredited	54	60 –62
Cold Tile	Uncredited	57	63
Abnormal Secret-Picture Exhibition	Uncredited	58–73	64 –79
Cruelty Created Through Tricks	Sasamura Hiroshi	83–85	80 –82
The Prosperities of Vice, Continued	Marquis de Sade	86–91	83 –88
The Massacre of Five Hundred Thousand	Isobe Otohiko	92–93	89 –90
Women of Strange Customs	Uncredited	99–101	96 –98
Love's Obsession Becomes a Serpent	Oda Toshimi	104–107	101 –104
Human Steak	Uncredited	108–109	105 –106
Journey Through the Desert of Death	Uncredited	110–111	107 –108
The Ice Field Crazed by Lust	Uncredited	112–113	109 –110
The Beauty on the Guillotine	Shigeyama Norio	115–119	112 –116
Gruesome Murder Scenes That Make One Cover the Eyes	Uncredited	120–123	117 –120
The Torment of Kichiya's Mad Love	Oda Toshimi	124–129	121 –126

The formal contents occupies PDF page 8. Printed pagination begins after the unnumbered cover, frontispieces, and contents, and later prose pages generally carry printed numbers three higher than their PDF viewer numbers. Several small titles and contributor names on the contents spread are faint or tightly set; uncertain romanizations are identified in the relevant notes. The photographic gravures use many internal caption headings, some of which are listed separately in the contents and others of which function only as page-level captions. PDF page 127 is an unnumbered pictorial back-matter page rather than a continuation of the preceding historical story.