Japanese comics. Using Go Nagai's as a prime example, Bryce says that Nagai's storylines challenged long-standing social values by ridiculing traditional authority figures. Teachers in Nagai's manga were portrayed as deviants and perverts, engaging in various forms of aggressively voyeuristic behavior towards their female students. In this regard, panchira was employed as a form of social satire, voicing a general mistrust of authoritarian regimes. In much the same vein, Jean-Marie Bouissou states that "smashed" the Japanese taboo against eroticism in children's comics, indicative of the rapidly changing cultural attitudes endemic to late 60s Japan. Although the eroticism was confined mainly to panchira and soft-core cartoon nudity, the manga's impact was felt all across the country. Bouissou says the publication of sparked a "nationwide boom of (to flip up a girl's skirt)". Jonathan Abel's work on the unmentionables of Japanese film argues that the cultivation of the underwear fetish through Roman Porno films after a police seizure may have first been evidence of covering up, but rapidly became a signifier of that which could never be attained. Abel's psychoanalytical approach then calls for the use of "panchira" as a term for eroticization of the invisible. Male gaze There are few academic studies dealing specifically with panchira; the subject has been touched on by several writers under the broader context of the male gaze. From the Western perspective, panchira is characterized by the sexual stereotyping inherent in patriarchal culture. Anne Allison makes reference to the convention in Permitted and Prohibited Desires, theorizing that the exposure of women's (or girls') underwear in ero-manga is constructed as an "immobilizing glance", in the sense that panchira is usually presented as a tableau in which the (female) object of desire is 'petrified' by the male gaze. She further postulates that this 'glance' is generally depicted as transgressive: the audience is permitted a glimpse of the female body (partially) unclothed, but it is always framed as a forbidden action. This prohibitive tableau permeates the entire genre, as virtually all ero-manga follow the same formula of transgression and immobilization. Similarly, Anne Cooper-Chen states that the endlessly repeated image "of a male gazing at a female's panty-clad crotch" represents an archetypal manga panel. She supports Allison's view that women/girls portrayed in their underwear (or naked) is a common motif in Japanese comics, and is most frequently accompanied by a masculine "viewer" whose voyeuristic presence is indicative of the male