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