4. JAPANESE HORROR UNDER WESTERN EYES: SOCIAL CLASS AND GLOBAL CULTURE IN MIIKE TAKASHI’S AUDITION

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. ACKNOWLEDGEMENTS ix
4. PREFACE: JAPANESE HORROR CINEMA xi
5. CONTRIBUTORS xv
6. INTRODUCTION 1
7. PART I HISTORY, TRADITION AND JAPANESE HORROR CINEMA
8. INTRODUCTION 13
9. 1. AESTHETICS OF CRUELTY: TRADITIONAL JAPANESE THEATRE AND THE HORROR FILM 18
10. 2. THE NIGHTMARE OF ROMANTIC PASSION IN THREE CLASSIC JAPANESE HORROR FILMS 29
11. 3. CASE STUDY: NAKATA HIDEO’S RINGU AND RINGU 2 38
12. PART 2 GENDER, TERROR AND THE ‘AVENGING SPIRIT’ MOTIF IN JAPANESE HORROR CINEMA
13. INTRODUCTION 49
14. 4. JAPANESE HORROR UNDER WESTERN EYES: SOCIAL CLASS AND GLOBAL CULTURE IN MIIKE TAKASHI’S AUDITION 54
15. 5. ANIME HORROR AND ITS AUDIENCE: 3X3 EYES AND VAMPIRE PRINCESS MIYU 66
16. 6. CASE STUDY: ISHII TAKASHI’S FREEZE ME AND THE RAPE-REVENGE FILM 77
17. PART 3 NATIONAL ANXIETIES AND CULTURAL FEARS IN JAPANESE HORROR CINEMA
18. INTRODUCTION 87
19. 7. METAL-MORPHOSIS: POSTINDUSTRIAL CRISIS AND THE TORMENTED BODY IN THE TETSUO FILMS 95
20. 8. CULTURAL TRANSFORMATION, CORPOREAL PROHIBITIONS AND BODY HORROR IN SATO HISAYASU’S NAKED BLOOD 107
21. 9. PINNOCHIO 964, DEATH POWDER AND THE POST-HUMAN CONDITION 120
22. 10. CASE STUDY: BATTLE ROYALE’S APOCALYPTIC MILLENNIAL WARNING1 130
23. PART 4 JAPANESE HORROR CINEMA AND THE PRODUCTION AND CONSUMPTION OF FEAR
24. INTRODUCTION 145
25. 11. ARASHI GA OKA (ONIMARU): THE SOUND OF THE WORLD TURNED INSIDE OUT 150
26. 12. RINGING THE CHANGES: CULT DISTINCTIONS AND CULTURAL DIFFERENCES IN US FANS’ READINGS OF JAPANESE HORROR CINEMA 161
27. 13. CASE STUDY: CINEMATIC HYBRIDITY IN SHIMIZU TAKASHI’S JU-ON: THE GRUDGE 175
28. FILMOGRAPHY: JAPANESE HORROR FILMS AND THEIR DVD AVAILABILITY IN THE UK AND US 185
29. BIBLIOGRAPHY 207
30. INDEX 215