August 1960

The August 1960 issue of Gaho Fuzoku Kitan presents itself as a special collected edition built around erotic restraint photography, illustrated punishment fantasies, historical and foreign erotic imagery, and a concluding literary work. Its opening sequence combines reproductions of European erotic art with color photographs and paintings of women restrained against trees, pillars, tables, and other supports. A formal contents spread divides the publication into several photographic gravure sections, a large gallery of imported or reproduced imagery, and a serialized literary feature. The principal photographic sections form an extended catalog of poses and environments. Women are bound back-to-back, attached to latticework, confined to chairs, stretched across tatami, blindfolded, tied beside mirrors, fastened to bamboo poles, placed on couches, and posed in gardens. The layouts frequently pair full-page photographs with smaller sequential views, giving the material a quasi-instructional rhythm while captions transform each arrangement into a miniature narrative of captivity, anguish, display, or self-contemplation. Furniture, windows, mirrors, bamboo, rope, and architectural fixtures become recurring compositional devices. The issue repeatedly shifts between photography and drawing. Illustrated plates by artists including Tagami Keiko, Ema Miku, and Oda Toshimi depict suspension, burial, rotating machinery, confinement against bamboo, and other theatrical punishments. These images broaden the publication's visual vocabulary beyond domestic bondage photography into pulp adventure, fantasy torture, exotic spectacle, and melodrama. A long section titled the Aphotic Picture Gallery assembles European and American illustrations, photographs, cartoons, costume studies, circus scenes, cross-dressing imagery, corsets, boots, trousers, equestrian women, lesbian themes, humiliation, and female dominance. Rather than forming a single narrative, the section works as an archive of imported visual motifs and changing gender presentation. Its organization reveals the magazine's interest in international sources and in clothing as an instrument of erotic identity, authority, disguise, and bodily transformation. The closing pages contain the story The Eternal Fountain of Beauty and Youth by Leopold von Sacher-Masoch. Set apart from the preceding pictorial material by dense vertical text and occasional illustrations, it shifts the issue toward literary masochism and psychological fantasy. The issue therefore develops from staged Japanese photography through increasingly cosmopolitan visual material and concludes with European decadent fiction, creating a publication that treats bondage, domination, costume, gender reversal, and suffering as interconnected forms of erotic culture.

Title	Author	Printed Pages	PDF Pages
Midday Lustrous Skin	Uncredited	7	3
Mermaid on the Table	Uncredited	8-9	4 –5
Bearing the Pillar on Her Back	Uncredited	10	6
Crucified in Midair	Tagami Keiko	11	7
Obsession with White Skin	Ema Miku	13	9
Manji Suspension	Tagami Keiko	14	10
Two Women in Misery	Uncredited	15	14
Fastened to the Lattice	Uncredited	16-17	15 –16
The World of the Chair	Uncredited	18-19	17 –18
Suspended Doll	Uncredited	20-21	19 –20
Five Captive Poses	Uncredited	22-23	21 –22
Blindfolded Woman	Uncredited	24-25	23 –24
A Certain Pose	Uncredited	26-27	25 –26
Gorgeous Nude	Uncredited	28-29	27 –28
Kannon of the Female Body	Uncredited	30-31	29
The Narcissist in the Mirror	Uncredited	32	30
Duet of White Skin	Uncredited	33	31 –32
Nude Female Christ	Uncredited	34-35	33 –34
Tormented with Bamboo	Uncredited	36-37	35 –36
Poses on a Long Chair	Uncredited	38-39	37 –39
The Woman Who Was Thrown Down	Uncredited	40	40
Writhing Female Body	Uncredited	41-42	41 –42
The Rope of Abuse	Tagami Keiko	44	43
Buried Alive	Oda Toshimi	45	44
Wheel Binding	Oda Toshimi	46	45
Embracing a Stone	Ema Miku	47	46
Rice-Container Holder	Ema Miku	48	47
Bamboo Torment	Oda Toshimi	49	48
Feast of the Natives	Oda Toshimi	50	49
Wind-Chime Suspension	Tagami Keiko	51	50
Pillar Binding	Uncredited	55	51
Lattice Torment	Uncredited	56-57	52 –55
Pictures of Unusual Torment	Uncredited	58-59	55
Prisoner of the Chair	Uncredited	60-62	56 –57
Sadistic Pose	Uncredited	63	58 –59
Suspended from a Kimono Rack	Uncredited	64-65	60 –61
Quiet Torment	Uncredited	66-67	62 –63
Garden Melancholy	Uncredited	68-69	64 –65
Suspended Woman	Uncredited	70	66
Women Who Wear Corsets	Uncredited	71-77	67 –74
Women Who Constrict the Breasts	Uncredited	78-82	75 –77
Song of Lesbos	Uncredited	83-86	78 –82
Women Whose Buttocks Are Targeted	Uncredited	87-93	83 –89
Women Subjected to Enemas	Uncredited	94-97	90 –93
Women Who Oppress Men	Uncredited	98-99	94 –95
Women Wearing Boots	Uncredited	100-105	96 –101
Women Wearing Trousers	Uncredited	106-115	102 –111
Women on Horseback	Uncredited	116-118	112 –114
The Eternal Fountain of Beauty and Youth	Leopold von Sacher-Masoch	119-134	115 –130

The formal table of contents appears on PDF page 12. Printed pagination and PDF viewer pagination vary by section: the opening color material precedes the contents, the first gravure is generally one page behind the printed number, the second gravure approximately two pages behind, and the third gravure and later material approximately four pages behind. Some compact titles, contributor credits, and page numerals on the contents spread are faint; provisional translations or readings are identified in individual notes. Several photographic leaves have worn, torn, or cropped outer margins, but the principal content remains visible. The final literary work ends on PDF page 130 with publication and colophon information at the foot of the page.