Japanese And American Horror
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|Author||: Katarzyna Marak|
Horror fiction is an important part of the popular culture in many modern societies. This book compares and contrasts horror narratives from two distinct cultures--American and Japanese--with a focus on the characteristic mechanisms that make them successful, and on their culturally-specific aspects. Including a number of narratives belonging to film, literature, comics and video games, this book provides a comprehensive perspective of the genre. It sheds light on the differences and similarities in the depiction of fear and horror in America and Japan, while emphasizing narrative patterns in the context of their respective cultures.
|Author||: Valerie Wee|
The Ring (2002)—Hollywood’s remake of the Japanese cult success Ringu (1998)—marked the beginning of a significant trend in the late 1990s and early 2000s of American adaptations of Asian horror films. This book explores this complex process of adaptation, paying particular attention to the various transformations that occur when texts cross cultural boundaries. Through close readings of a range of Japanese horror films and their Hollywood remakes, this study addresses the social, cultural, aesthetic and generic features of each national cinema’s approach to and representation of horror, within the subgenre of the ghost story, tracing convergences and divergences in the films’ narrative trajectories, aesthetic style, thematic focus and ideological content. In comparing contemporary Japanese horror films with their American adaptations, this book advances existing studies of both the Japanese and American cinematic traditions, by: illustrating the ways in which each tradition responds to developments in its social, cultural and ideological milieu; and, examining Japanese horror films and their American remakes through a lens that highlights cross-cultural exchange and bilateral influence. The book will be of interest to scholars of film, media, and cultural studies.
|Author||: Colette Balmain|
|Editor||: Edinburgh University Press|
This book is a major historical and cultural overview of an increasingly popular genre. Starting with the cultural phenomenon of Godzilla, it explores the evolution of Japanese horror from the 1950s through to contemporary classics of Japanese horror cinema such as Ringu and Ju-On: The Grudge. Divided thematically, the book explores key motifs such as the vengeful virgin, the demonic child, the doomed lovers and the supernatural serial killer, situating them within traditional Japanese mythology and folk-tales. The book also considers the aesthetics of the Japanese horror film, and the mechanisms through which horror is expressed at a visceral level through the use of setting, lighting, music and mise-en-scene. It concludes by considering the impact of Japanese horror on contemporary American cinema by examining the remakes of Ringu, Dark Water and Ju-On: The Grudge.The emphasis is on accessibility, and whilst the book is primarily marketed towards film and media students, it will also be of interest to anyone interested in Japanese horror film, cultural mythology and folk-tales, cinematic aesthetics and film theory.
|Author||: Sarah McKay Ball|
Keywords: Ring, Ringu, Hideo Nakata, Gore Verbinski, Koji Suzuki, uncanny, relationship to the gaze, horror film, doppelganger, remake.
|Author||: Salvador Jimenez Murguía|
|Editor||: Rowman & Littlefield|
The Encyclopedia of Japanese Horror Films covers virtually every horror film made in Japan from the past century to date. In addition to entries on productions, both major and modest, this encyclopedia also includes entries for notable directors, producers, and actors. Each film entry includes comprehensive details, situates the film in the context and history of Japanese horror cinema, and includes brief suggestions for further reading. Although emphasizing horror as a general theme, this encyclopedia also encompasses other genres that are associated with this theme, including Comedy Horror, Science Fiction Horror, Cyber-punk Horror, Ero Guru (Erotic Grotesque), and Anime Horror. The Encyclopedia of Japanese Horror Films is a comprehensive reference volume that will appeal to both cinema scholars as well as to the many fans of this popular genre.
In the last few decades, interest in the uncanny in the body of literary theory has surged. The uncanny is a ubiquitous presence 21st century American and abroad, and it provides a useful metaphor for understanding the implications of some of the conventions of post-modernism. This thesis explores a contemporary definition of the uncanny as manifested through two film interpretations (Ringu and Ring) of the same source material, a novel titled Ringu by Koji Suzuki. Through a brief exploration of the historical evolution of the idea of the uncanny and the various critical cruxes surrounding it, I have developed six working characteristics of the uncanny as a base for my analysis of Ringu and Ring. Furthermore, I have explored the social, historical, and cultural underpinnings of Suzuki's original novel and its path to Japanese and eventually American theatres. Within the narrative of both films, the uncanny is manifested through extended use of the doppelganger and repetition. There is no significant difference in the films' rendering of the uncanny through narrative. The films differ slightly in their presentation of uncanny sound and visual elements: Ringu relies primarily on sound and characters' internal experience to produce the uncanny, whereas Ring focuses on the visual and characters' external experience. The films unify their internal rendering of the uncanny with their metatextual (and commercial) behavior with the gaze, an aspect of both films that implicates the viewer in their propagation of the uncanny and the film franchise. Overall, there is not a significant difference in the rendering of the uncanny in Ring and Ringu. An analysis of both films, however, does illuminate the pervasive, yet complex, presence of the uncanny in contemporary pop culture.
|Author||: Jay McRoy|
A much-needed critical introduction to some of the most important Japanese horror films produced over the last fifty years, Japanese Horror Cinema provides an insightful examination of the tradition's most significant trends and themes. The book examines the genre's dominant aesthetic,cultural, political and technological underpinnings, and individual chapters address key topics such as: the debt Japanese horror films owe to various Japanese theatrical and literary traditions; the popular "avenging spirit" motif; the impact of atomic warfare, rapid industrialisation andapocalyptic rhetoric on Japanese visual culture; the extents to which changes in the economic and social climate inform representations of monstrosity and gender; the influence of recent shifts in audience demographics; and the developing relations (and contestations) between Japanese and "Western"(Anglo-American and European) horror film tropes and traditions. Extensive coverage of the central thematic concerns and stylistic traits of Japanese horror cinema makes this volume an indispensable text for a myriad of film and cultural studies courses.
|Author||: Jessica Balanzategui|
|Editor||: Amsterdam University Press|
This book illustrates how global horror film images of children re-conceptualised childhood at the beginning of the twenty-first century, unravelling the child's long entrenched binding to ideologies of growth, futurity, and progress. The Uncanny Child in Transnational Cinema analyses an influential body of horror films featuring subversive depictions of children that emerged at the beginning of the twenty-first century, and considers the cultural conditions surrounding their emergence. The book proposes that complex cultural and industrial shifts at the turn of the millennium resulted in potent cinematic renegotiations of the concept of childhood. In these transnational films-largely stemming from Spain, Japan, and America-the child resists embodying growth and futurity, concepts to which the child's symbolic function is typically bound. By demonstrating both the culturally specific and globally resonant properties of these frightening visions of children who refuse to grow up, the book outlines the conceptual and aesthetic mechanisms by which long entrenched ideologies of futurity, national progress, and teleological history started to waver at the turn of the twenty-first century.
|Author||: Andy Richards|
|Editor||: Oldcastle Books|
Since Japanese horror sensations The Ring and Audition first terrified Western audiences at the turn of the millenium, there's been a growing appreciation of Asia as the hotbed of the world's best horror movies. Over the last decade Japan, South Korea, Thailand and Hong Kong have all produced a steady stream of stylish supernatural thrillers and psychological chillers that have set new benchmarks for cinematic scares. Hollywood soon followed suit, producing high-profile remakes of films like The Ring, Dark Water, The Grudge and The Eye. With scores of Asian horror titles now available to Western audiences, this Kamera Books edition helps the viewer navigate the eclectic mix of vengeful spooks, yakuza zombies, feuding warlocks and devilish dumplings on offer, discussing the grand themes of Asian horror cinema and the distinctive national histories that give the films their special resonance. Tracing the long and noble tradition of horror stories in eastern cultures, it also delves into some of the folk-tales that have influenced this latest wave of shockers, paying tribute to classic Asian ghost films throughout the ages.
|Author||: Laurence Rees|
|Editor||: Da Capo Press|
The question is as searing as it is fundamental to the continuing debate over Japanese culpability in World War II and the period leading up to it: "How could Japanese soldiers have committed such acts of violence against Allied prisoners of war and Chinese civilians?" During the First World War, the Japanese fought on the side of the Allies and treated German POWs with respect and civility. In the years that followed, under Emperor Hirohito, conformity was the norm and the Japanese psyche became one of selfless devotion to country and emperor; soon Japanese soldiers were to engage in mass murder, rape, and even cannibalization of their enemies. Horror in the East examines how this drastic change came about. On the basis of never-before-published interviews with both the victimizers and the victimized, and drawing on never-before-revealed or long-ignored archival records, Rees discloses the full horror of the war in the Pacific, probing the supposed Japanese belief in their own racial superiority, analyzing a military that believed suicide to be more honorable than surrender, and providing what the Guardian calls "a powerful, harrowing account of appalling inhumanity...impeccably researched."
|Author||: Linnie Blake|
|Editor||: Manchester University Press|
The Wounds of Nations: Horror Cinema, Historical Trauma and National Identity explores the ways in which the unashamedly disturbing conventions of international horror cinema allow audiences to engage with the traumatic legacy of the recent past in a manner that has serious implications for the ways in which we conceive of ourselves, both as gendered individuals and as members of a particular nation-state. Exploring a wide range of stylistically distinctive and generically diverse film texts, its analysis ranges from the body horror of the American 1970s to the avant-garde proclivities of German Reunification horror, from the vengeful supernaturalism of recent Japanese chillers and their American remakes to the post-Thatcherite masculinity horror of the UK and the resurgence of "hillbilly" horror in the period following 9/11 USA. In each case, it is argued, horror cinema forces us to look again at the wounds inflicted on individuals, families, communities, and nations by traumatic events such as genocide and war, terrorist outrage, and seismic political change, wounds that are all too often concealed beneath ideologically expedient discourses of national cohesion. Thus proffering a radical critique of the nation-state and the ideologies of identity it promulgates, horror cinema is seen to offer us a disturbing, yet perversely life-affirming, means of working through the traumatic legacy of recent times.
|Author||: Lafcadio Hearn|
|Editor||: Cosimo, Inc.|
Most of the following Kwaidan, or Weird Tales, have been taken from old Japanese books.... Some of the stories may have had a Chinese origin: the very remarkable "Dream of Akinosuke," for example, is certainly from a Chinese source. But the Japanese story-teller, in every case, has so recolored and reshaped his borrowing as to naturalize it.... One queer tale, "Yuki-Onna," was told me by a farmer of Chofu, Nishitama-gori, in Musashi province, as a legend of his native village. Whether it has ever been written in Japanese I do not know; but the extraordinary belief which it records used certainly to exist in most parts of Japan, and in many curious forms.
|Author||: Jay McRoy|
Over the last two decades, Japanese filmmakers have produced some of the most important and innovative works of cinematic horror. At once visually arresting, philosophically complex, and politically charged, films by directors like Tsukamoto Shinya (Tetsuo: The Iron Man  and Tetsuo II: Body Hammer ), Sato Hisayasu (Muscle  and Naked Blood ) Kurosawa Kiyoshi (Cure , Séance , and Kaïro ), Nakata Hideo (Ringu , Ringu II , and Dark Water ), and Miike Takashi (Audition  and Ichi the Killer ) continually revisit and redefine the horror genre in both its Japanese and global contexts. In the process, these and other directors of contemporary Japanese horror film consistently contribute exciting and important new visions, from postmodern reworkings of traditional avenging spirit narratives to groundbreaking works of cinematic terror that position depictions of radical or ‘monstrous’ alterity/hybridity as metaphors for larger socio-political concerns, including shifting gender roles, reconsiderations of the importance of the extended family as a social institution, and reconceptualisations of the very notion of cultural and national boundaries.
|Author||: Steffen Hantke|
|Editor||: Univ. Press of Mississippi|
Creatively spent and politically irrelevant, the American horror film is a mere ghost of its former self—or so goes the old saw from fans and scholars alike. Taking on this undeserved reputation, the contributors to this collection provide a comprehensive look at a decade of cinematic production, covering a wide variety of material from the last ten years with a clear critical eye. Individual essays profile the work of up-and-coming director Alexandre Aja and reassess William Malone’s much-maligned Feardotcomin the light of the torture debate at the end of President George W. Bush’s administration. Other essays look at the economic, social, and formal aspects of the genre; the globalization of the US film industry; the alleged escalation of cinematic violence; and the massive commercial popularity of the remake. Some essays examine specific subgenres—from the teenage horror flick to the serial killer film and the spiritual horror film—as well as the continuing relevance of classic directors such as George A. Romero, David Cronenberg, John Landis, and Stuart Gordon. Essays deliberate on the marketing of nostalgia and its concomitant aesthetic and on the curiously schizophrenic perspective of fans who happen to be scholars as well. Taken together, the contributors to this collection make a compelling case that American horror cinema is as vital, creative, and thought-provoking as it ever was.
|Author||: Stuart Galbraith,R. M. Hayes|
|Editor||: McFarland & Company Incorporated Pub|
This is a detailed analysis of 103 Japanese science fiction, horror and fantasy feature films released theatrically or directly to television in the United States from 1950 through 1992. Each entry provides a plot synopsis, critique, background on the production, contemporary review quotes, and a comparison between the U.S. and Japanese versions. The filmography is arranged by studio and includes American and Japanese titles, release dates and releasing studios; comprehensive production and cast credits; running time; U.S. rating (when appropriate); and alternate titles.
|Author||: John Hersey|
Hiroshima is the story of six people--a clerk, a widowed seamstress, a physician, a Methodist minister, a young surgeon, and a German Catholic priest--who lived through the greatest single manmade disaster in history. In vivid and indelible prose, Pulitzer Prize-winner John Hersey traces the stories of these half-dozen individuals from 8:15 a.m. on August 6, 1945, when Hiroshima was destroyed by the first atomic bomb ever dropped on a city, through the hours and days that followed. Almost four decades after the original publication of this celebrated book, Hersey went back to Hiroshima in search of the people whose stories he had told, and his account of what he discovered is now the eloquent and moving final chapter of Hiroshima.
|Author||: Mitsuyo Wada-Marciano|
|Editor||: University of Hawaii Press|
Digital technology has transformed cinema’s production, distribution, and consumption patterns and pushed contemporary cinema toward increasingly global markets. In the case of Japanese cinema, a once moribund industry has been revitalized as regional genres such as anime and Japanese horror now challenge Hollywood’s preeminence in global cinema. In her rigorous investigations of J-horror, personal documentary, anime, and ethnic cinema, Mitsuyo Wada-Marciano deliberates on the role of the transnational in bringing to the mainstream what were formerly marginal B-movie genres. She argues persuasively that convergence culture, which these films represent, constitutes Japan’s response to the variegated flows of global economics and culture. With its timely analysis of new modes of production emerging from the struggles of Japanese filmmakers and animators to finance and market their work in a post-studio era, this book holds critical implications for the future of other national cinemas fighting to remain viable in a global marketplace. As academics in film and media studies prepare a wholesale shift toward a transnational perspective of film, Wada-Marciano cautions against jettisoning the entire national cinema paradigm. Discussing the technological advances and the new cinematic flows of consumption, she demonstrates that while contemporary Japanese film, on the one hand, expresses the transnational as an object of desire (i.e., a form of total cosmopolitanism), on the other hand, that desire is indeed inseparable from Japan’s national identity. Drawing on a substantial number of interviews with auteur directors such as Kore’eda Hirokazu, Kurosawa Kiyoshi, and Kawase Naomi, and incisive analysis of select film texts, this compelling, original work challenges the presumption that Hollywood is the only authentically “global” cinema.
|Author||: NA NA|
This is the first book to provide a comprehensive and systematic account of the phenomenon of cinematic remaking. Drawing upon recent theories of genre and intertextuality, Film Remakes describes remaking as both an elastic concept and a complex situation, one enabled and limited by the interrelated roles and practices of industry, critics, and audiences. This approach to remaking is developed across three broad sections: the first deals with issues of production, including commerce and authors; the second considers genre, plots, and structures; and the third investigates issues of reception, including audiences and institutions.
|Author||: Bryan Turnock|
Aimed at teachers and students new to the subject, Studying Horror Cinema is a comprehensive survey of the genre from silent cinema to its twenty-first century resurgence. Structured as a series of thirteen case studies of easily accessible films, it covers the historical, production, and cultural context of each film, together with detailed textual analysis of key sequences. Sitting alongside such acknowledged classics as Psycho and Rosemary's Baby are analyses of influential non-English language films as Kwaidan, Bay of Blood, and Let the Right One In. The author concludes with a chapter on 2017's blockbuster It, the most financially successful horror film of all time, making Studying Horror Cinema the most up-to-date overview of the genre available.
|Author||: David Kalat|
|Editor||: Vertical Incorporated|
J-HORROR: THE DEFINITIVE GUIDE TO THE RING, THE GRUDGE AND BEYOND, is an encyclopedia-like reference to all available Japanese horror films on Celluloid, video and dvd. It begins with a history of the industry that was built around 'The Ring', and how the many different manifestations of the single story spawned a new horror film aesthetic that has resonated the world over. Beyond 'The Ring', David Kalat also goes into the work that has been inspired by such themes as ghosts, little children, the media, and the unnamable aesthetic patina of J-Horror. This extensive history of J-horror looks into about 100 different films, most of which can be found in VHS or DVD format. J-HORROR: THE DEFINITIVE GUIDE TO THE RING, THE GRUDGE AND BEYOND, explains what is going on in Japanese horror film, and also tells you where to find these movies when you're ready to find them.