ASIA IN FOCUS Keywords: works as interesting analyzable content. offering a new approach to old works and introducing new fantastic representations in Japanese (popular) culture, both horror cinema as one element within the long tradition of including but not limited to, horror. This will position Japanese of the fantastic, which I see as a mode visible in various genres suggest we approach the subject matter from the viewpoint to propose that we take an alternative outlook altogether. I various contradictions and differing opinions and, ultimately, horror actually My is. aim in this essay is to point out the of confusion related to the general understanding of what well on adetailed case-study level, there are many moments While manyphenomenon. previous studies work extremely to observe and analyze the popularity and roots of the Researchers, critics and film directors alike have been keen has been astaple of both Japanese studies and film studies. late 1990s and early 21st century, Japanese horror cinema Ever since the emergence of the so-called J-horror in the EEROLAINEN LEENA Japanesein cinema theGenre and fantastic mode horror! the Oh Japan, horror, fantastic, film, genre horror, film, Japan, fantastic, 36 ISSUE 3 - - - - - In addition, the fantastic is not a genre but but a genre not is fantastic the addition, In gory na a more of works some that true is It the fantastic “exists as a site of difference, one that that one difference, of a site as “exists fantastic the irrational the and illusory, the alien, the privileges subsumes that modernity of a vision to contrast in homogeneity, of rubric bland a under difference all be seen to is it that and rationality”, and materialism, - consensus reali from departure conscious as “any quote the part of latter The 223). p. ty” 9, p. (1996, defini Hume’s Kathryn of a modification as comes consensus from departure as “fantasy any of tion reality’ ‘consensus these In 21). p. (1984, reality” Fur upon. agreed generally is that a reality means offi an often is reality this that I suggest thermore, a partic of reality constructed and hegemonic cial, fantastic, The time. particular a during society ular alternatives. negotiating about all is thus, fantastic “the Jackson: by suggested as a mode forms” generic different assumes that a mode is relation in Faris and Zamora 35); by p. (1981/1988, – exploring to suited mode “a as realism magical to 6); p. (1995/2003, – boundaries” transgressing and these of “all that realization her in Bowers by and one of terms in consider to difficult are concepts as be seen should they that and genre unifying p. (2004, modes” narrative particular constituting and not does horror where exist might Strange 3). versa. vice Also, context. this in unavailable become might ture general the for best way be the still might genres that clear discuss films. to audience is, It however, the from free is that mode fantastic the utilizing a yields only not genre existing an of restrictions 37 - - - , which could be defined as ‘suspicious and be and could , defined which as ‘suspicious apan is a country with a long tradition of of tradition a long with a country is apan a Be they narratives. mysterious and weird art, religious a stage tale, folk a text, written I am primarily interested in the difficulties of of difficulties the in interested primarily am I the of meaning and nature the on Theories kaiki categorization one is bound to encounter when when encounter one is bound to categorization es- this in aim My cinema. horror Japanese studying contradictions out various point is two-fold: to say research previous to relation in emerged have that for framework new a offer to that, on based and, cinema, Japanese in horrific the of analysis further - fantas the that I argue fantastic. the of that namely - a pos as but a genre as not works films these in tic generic crossing mode narrational subversive sibly moni Japanese its by mode this I call boundaries. works influential starting with plenty, are fantastic analysis structural (1975) Todorov’s Tzvetan as such or Rosemary psychoanalyti (1981/1988) Jackson’s

belief or a film, these narratives have permeated the the permeated have narratives these a film, or belief this In tropes. cultural central as years for society fan dark Japanese the of world the I explore essay, I horror. as to referred commonly is what in tastic a as both used is ‘horror’ of concept the how discuss research, academic for means a and tool marketing clear. but anything is notion very the though even ker shape eerie and ‘uncanny being’, or thing strange what these, apart from But ‘grotesque’. or form’ and fantastic? is the then tracing in that I propose framework. inclined cally Japanese the of understanding and definition the Napier J. Susan by provided framework the weird, that suggests Napier valid. most the seems (1996) J ASIA IN FOCUS their way into early cinema. from folklore, like the avenging female motif, make p. 10). It was thus only natural to see famous tropes during the early periods of film (Uchiyama, 2008, motion and such continued to surprise spectators pernatural overlapping phenomena: stop figures, the techniques used were such as to portray su worlds previously unseen to the human eye. Even of the theater, the spectator was whisked away to superstitious beliefs. According to him, in the dark a link between modern rationality and traditional ki Uchiyama (2008) argues that film was actually pan’s modernity and technological prowess. Kazu cinema too was utilized as arepresentation of Ja 452-453). During this period of rapid modernization, p. (Napier,ilization Enlightenment’” and 1995/2003, by the country’s own leaders under the slogan ‘Civ power,ist new, a ‘modern’, identity was implemented game by transforming Japan into afirst rate capital to Napier, “in adesire to beat the West at its own two hundred years of national isolation. According ration in when 1868, Japan opened its borders after this new form art overlapped with the Meiji Resto (Miyao, 2014, p. 1). Furthermore, the introduction of national cinemas both historically and theoretically ema has been one of the world’s most important in the west. Given its long history, Japanese cin 19th century, very soon after its initial introduction Cinema emerged in Japan towards the end of the Navigating conceptual the jungle cial (=consensus) point of view (=reality). alternatives that can quite be terrifying from an offi Ultimatelyserved. the fantastic providing about is shape-shifting and mysterious forms can ob be through which the subject matter in all its horrific, ties as portrayed in film. It is aviable new approach tastic actually helps to us understand these reali ysis. Through its departure from ‘the real’, the fan the category of horror as suitable targets for anal motes previously films in considered an uneasy fit new understanding of material, old pro also but ------38 it motif can also understood be not as a subgenre ghost stories that incorporate the avenging spir ( sistently point out that they are special effectsfilms claim that monster films are horror; rather they con audiences, the Japanese are quick to debunk the genre. Based on my discussions with Japanese in relation to the audience’s understanding of the ductive one. not only asimplified model, but also as a fairly re monster films (2008, p. 6). This division presents and the disaster narrative, exemplifiedbest by giant two dominant genres: the vengeful spirit narrative that postwar horror films generally conformed to or apocalypse films. McRoy, for example, suggests ily identifiable in the west, such as ghost, slasher horror is often analyzed in relation to genres eas- 2014). However, in many of these works Japanese & Choi, 2009; Lacefield, 2010; Ōshima, 2010; Wee, 2008; Balmain, 2008; Harper, 2008; Wada-Marciano ror cinema (see for example McRoy, 2005; McRoy, newly-founda scholarly interest in Japanese hor was there films, horror Japanese contemporary Ringu “horror”. cause it is difficult to Gegegeclassify no Kitarō as rarely put together in Western studies, maybe be (Nakata, 1998). Notable here is that these two are created by Shigeru Mizuki in the 1960s) or Ringu Kitarōno itselfed in the form of films or series like Gegege ral storylines, Japanese cinema, too, has manifest the richness of their own fantastic and supernatu esting counterpoint. In these countries, known for inter an provides Thailand and Malaysia Indonesia, Yasujirō Ozu. Inuhiko Yomota’s (2010) fieldwork in ters, such as Akira Kurosawa, Kenji Mizoguchi and concentrate altogether on different genres mas or search in both Japan and the west has tended to the fantastic in Japanese cinema, much of the re However, despite the prevalence and popularity of Gojira Gojira Furthermore, plethora a of problems emerge In the wake of the success of the original and the various Hollywood adaptations of [Honda, 1954] being an exception). Kaidan (originally yōkai a [spectre] manga series, ------

ISSUE 3 ------, but As the above attests, filmmakers themselves themselves attests, filmmakers above As the has suggested (2009) Fuji Dario Scriptwriter per se per a genre not is J-horror Japanese. in historical a definable with works of a body rather be de may it concerns; thematic and background 1990s late the from movement a local as scribed critique film and TV films, series, of comprised that from filmmakers, and which places particular em 2009, (Kinoshita, media and life everyday on phasis the to similar is it latter, the to regard With p.103). Wave) New The Vague, (Nouvelle boogu nuuberu created directors where 1960s the of movement thematically like-minded films that were informed studio film and society Japanese changing both by group a to refers “specifically too, J-horror, policies. “con which films” horror low-budget relatively of of production low-key the on aesthetically centrate atmospheric andcapitalizing on psychological fear, mass media and through legends proliferated urban 104). p. 2009, (Kinoshita, culture” popular Sim phenomenon. new the analyze to keen were writ the and them between be found can ilarities “gathered who fiction, pulp Japanese modern of ers only not pulp ‘lowly’ supposedly of space the within exchange to also but opinions own their express to ideas with subversive and potentially sophisticated however, not, is It 119). 2005, p. (Kawana, others” have that filmmakers the of observations the solely provided boundaries for research. Japanese hor to notion a folkloric from metamorphosed has ror is profitability which in commodity, a multicultural of understanding accurate an than important more and research where a site is It things. of nature the a becoming J-horror discursive with mix capitalism cate a distribution and strategy marketing viable researchers providing thus Extreme’, ‘Asia gory of Asia is borders horror. what considered with for re the for used Tartan from label a DVD Extreme, is audiences, foreign to films (cult) Asian of lease include to order in designated “loosely purposefully exportable” seems that cinema Asian of a range and films Cult 5). p. 2009, & Choi, (Wada-Marciano same. the not are however, films, horror 39 ------‘Japanese horror’ often appears to be synon to appears often horror’ ‘Japanese As the J-horror boom took off at the turn of the 21st 21st the of turn the at off took boom J-horror the As a bid in horror as labeled were films many century, beanalyzed could that body a common create to like I would profitably. marketed and academically analysis the sharp how matter no that highlight to sense a vague is there work, the influential how or How horror. considered is what of arbitrariness of Ghosts, and WWII: monsters roots The horror? Japanese of anese horror, if not the vast field of the subject mat subject the of field vast the not if horror, anese make to nothing does Culture-specificity itself. ter and thus, transcending simpler categorization the would a mode of form the in a genre of notion the analysis. for departure of point a beneficial provide can was body works acceptable of once this ever, in interested been have studies few a only onized, terms. different in matter subject the approaching howev not, should two The ‘J-horror’. with ymous to come commonly has J-horror be confused. er, to mid-1990s the films from horror Japanese mean definitions narrow more even and mid-2000s, the has (2000) Asada Akira Critic available. readily are an to helps “J” letter the of use the that argued Jap of time a certain into it including anything chor so- the of He sees emergence the anese history. postmodern the to response a as J-culture called the during 1980s the of capitalism cosmopolitan 1990s. the of Decade Lost unstable economically sever for around been has horror Japanese While roots its has J-horror centuries, even decades, al - sys studio the of collapse the of aftermath the in J-horror of explanation 1980s. A good the in tem it discusses who (2009) Kinoshita by provided is writings Kurosawa’s Kiyoshi director to according of horror, but rather that of period drama (Shimura, (Shimura, drama period of that rather but horror, of Japanese prominent most the of one is which 2014), monsters both that possible also is It genres. film as fantastic, the of realm the to belong ghosts and clear is it Thus, 95). p. (1996, Napier by suggested which in framework a offers division McRoy’s that Jap on research earlier the of much locate can one ASIA IN FOCUS Henshin ningen ningen Henshin the Interestingly, omitted. 1958-1960),Fukuda, completely are almost WWII, such ningen as the Henshin interestingly, works some explicitly with concerned is seen to manifest itself in aplethora of works but, tims of the A-bomb]” (2008, p. 7). National trauma prevalence of the discourse of the 1950s onwards, as demonstrated through the underlies many, if not all, Japanese horror films from subsequent Allied Occupation, the trauma of which experiences during the Second World War and the too, suggests that “perhaps most crucial are Japan’s apocalyptic closure” (2008, p. 10). Colette Balmain, militaristic build-up to the Second World War and its and society national hence nese self-image by the decodes “the traumatic changes wrought to Japa Gore Verbinski’s Hollywood remake, stating that it both the classics of postwar Japanese horror and alyzes alyzes 1964) as allegorical to Hiroshima; Linnie Blake an ademics: Lowenstein (2005) sees Onibaba the creation of horror in Japan. the horror genre and emphasizes the role of WWII in ment runs the risk of trivializing pre-war products of lypse” (2008, p. 6). Although accurate, this state for avirtual explosion of tales of terror and apoca nese film culture of the 1950s and 1960s was “a site isted in Japan prior to the end of WWII, the Japa McRoy emphasizes that although horror cinema ex 159). Almost as an answer to Carroll’s assertion, Jay tion and national confusion” (Carroll, 1981/1999, p. times of depression, recession […] galloping infla of powerlessness and anxiety that correlates with because they allow the expression of the “sense ate during times of economic and political anxiety Carroll contends that horror and sci-fi films prolifer for the production of these films. By contrast, Noël downturnseconomic provide also opportunity an ror but, as horror films are often cheap to make, the horizon people are able to enjoy fictional hor riods of time: with no imminent crises looming on that horror booms tend to appear within certain pe McRoy’s approach is internalized is McRoy’s by approach many ac Ringu as set against and read in the light of hibakusha trilogy (Nakata & films have even even have films [the vic [the (Shindō, ------40 women, not because of the emergence of aghost. of its unfair and totally horrible treatment of its ghost. If we want to call Ugetsu that reality is actually much more horrible than any are both present but in the case of Ugetsu aristocratic lady. Benevolent malevolent and spirits in the city. He is seduced by abeautiful ghost of an a potter leaves his wife and child in order to work Kenji Mizoguchi’s classic monogatari Ugetsu that of horror but that of mystery and nostalgia. In olent entity, but the overall tone of the film is not his time with benevolent There malev a is ghosts. to no natsu (1988), the protagonist spends most of considered horror. In Nobuhiko Ōbayashi’s Ijintachi Takashi Miike’s Audition spirit appears both in Kurosawa’s real woman incorporating the motif of avengeful analyzed as horror even though aspirit appears. A Akira Kurosawa’s masterpiece Rashōmon not automatically make afilm horror. Iam yet to see ence of aghost might horrific be indeed, but it does to provide an instant symbol for horror. The pres - invisibility. relative their behind reason not as ‘Asia Extreme’. This simple fact may the be been distributed in the but as U.S., science fiction, Ōshima’s Ōshima’s Imamura’s Yasuzōsuch as Masumura’s Mojū (2009, 37). p. 33, She explains that to analyze works the conceptualization many spectators have of it tortion of both the analysis of Japanese horror and as precursors to J-horror, which has led to adis- has been to repack non-horror films of the 1960s media and history. For her the most blatant strategy the DVD market, it ultimately led to ashuffling of market and constructed as pragmatic categories in treme and J-horror were imported to the Western Mitsuyo Wada-Marciano argues that as Asia Ex Does genre deliver? knowledge connections among a text, its historical its text, a among connections knowledge a matter of genre categorization, but a“failure to ac In addition to war and apocalypse, ghosts seem Ai no koriida no Ai Fukushū wa ware ni ari (1979) and Nagisa (1976) as horror is not solely (1999), but only the latter is horror, it is because (1969), Shōhei Ran (1985) and and (1985) it is clear is it (1953) (1953) (1950) (1950) - - - ISSUE 3

- - - - - Japanese horror has been much analyzed but, but, analyzed much been has horror Japanese (2003) has weirdly multiplying medusas, but but medusas, multiplying weirdly has (2003) Conclusions work genres essay, this in highlighted I have As monsters, like are They ways. mysterious in are They move. the on always and shape-shifting used often and knowledge everyday our a part of - clas of kind this does but purposes, marketing for deeper for best results the provide really sification concerns thematic and narrative on the discussion audience? the satisfy even Does it films? in present lure the to yield academics as we should addition, In a on based is that categorization ready-made the of sales? maximize to created category marketing mirai Doppelgänger horrific. film a make not does that of battle the when a farce becomes almost (2003) ego alter his and protagonist the between minds the gets chased or protagonist when the accelerates, a is here have we What ball. disco enormous an by a and promise a both is Genre sword. double-edged you let only will it and lure its for easily too fall curse: expectations. of set a false with down be may studies case interesting shown, I have as - his to attention lack they because compromised false emphasize We toricity intertextuality. and/or the understand us help will that a concept need The manifestations. various its in matter subject (Alt pinpoint to difficult so is a genre of location it from away turn to willing am I that 2005) man, that a mode as fantastic the introduce rather and the of All genres. various across works in present is incorpo to be argued can above mentioned films be ap may thus and two or element a fantastic rate quote To fantastic. the lens of the through proached becom ideas avoid to order “in Söderman, Laeticia mat subject the approach to need we stagnant ing angle, original and a fresh from research our of ter questions the on light more shed to us enables that a more that clear is It 105). p. (2014, us” interest that takes category which or framework, comprehensive well as films the of historicity the both account into needed. is matter subject true their as 41

------(2015) in the terms of of terms the in (2015) were being made in the 1910s, early early 1910s, the in made being were “Why so many studies so far have delimited delimited have far so studies many so “Why torture erotic-grotesque Indeed, violent the an canon, instant an as used often is Horror . Also, discussing Zan’e. discussing Also, (J-)horror (see Schilling, 2016) does not give justice justice give not does 2016) Schilling, (see (J-)horror is Horror film. the in mystery of sense terrific the to Kuro Kiyoshi of what Further, product. end an but the subject by looking at ‘the origins, themes and and themes origins, ‘the at looking by subject the 1950 from cinema Japanese of horror conventions as such kaidan the on based works when date’ to kaidan Yotsuya making were […] genre the to precursors German releases, domestic their of years within Japan to it like writers by led genre literary ero-guro the and oh why, And 1920s. the in thrived Rampo Edogawa Ro Nikkatsu at looking on insist many so do why, less to had 1970s and 1960s the in released films catering with do to more and horrors war with do re their of time the during that audience the for works of body a random include to category easy for Sono, Sion aspects. horrific some contains that his before director a horror branded was example, to drama artistic from ranges which output, recent el faint are there though musicals. Even splatter no, 2009, p. 34). Jasper Sharp (2009) speaks of a a of speaks (2009) Sharp Jasper 34). p. 2009, no, similar feeling of frustration: horror the for made being as […] films Porno man market?” who men young namely TVs, afford not could lease a job. finding of hope the in cities large to moved can that structure the within deep buried ements it films, supernatural from derived have to be said (Calderini, horror as films Sono’s label to difficult is them of many hand, other On the 103-104). p. 2012, narra and setting their in fantastic explicitly are Gekijōrei Nakata’s Hideo concerns. Recently, tional scriptwrit as but, J-horror as marketed was (2015) out, points it belongs (2015) Takahashi erHiroshi fantastic, and strange the of category the to more kaiki direc film horror ‘a called often is Kurosawa sawa? this by delivered expectations the of light in but tor’, Akarui disappoint: to sure are films these moniker, context, and the discursive subject” (Wada-Marcia subject” discursive the and context, ASIA IN FOCUS connections between previouslyconnections between unrelated times, Studying the fantastic in Japanese cinema provides reality consensus about in the guise of the fantastic. directors to express their possibly subversive ideas pan fares no better. Cinema acts as a platform for The contemporary, post-postwar, postmodern Ja variety of interior grotesques (Napier, 2003, p. 453). self into acountry where outside harmony hides a enlightened but only at the cost of transforming it contemporary human existence. are horrific, some of which only vaguely lament the present in an array of cultural works, some of which sus reality calls for the intervention of the fantastic aspects behind the official state of things, consen times in certain cultures. To negotiate the hidden and socialization. Certain topics arise during certain according to one’s cultural background knowledge these biological experiences can said be to change of monstrosity on screen. However, the meaning of our preference to experience and see expressions out, there are basic biological factors that affect duced from China. As Torben Grodal (2009) points “Japanese” ghost story genre was originally intro tives and motifs throughout the times, and even the ema has been heavily influenced by western narra with arich fantastic tradition. Japanese fantastic cin Japan is by no means the only country in the world ism, it is absolutely to necessary bear in mind that that never new challenges. faces reductionist picture of asociety that never changes, changed for hundreds of years. This would paint a ever, to argue that these motifs have remained un Tanizaki and Natsume Sōseki. My aim is not, how the works of respected authors such as Junichirō manifest various grotesques do fantasies, and as and media. In Japan, myths, legends and folklore culturalbetween products across different eras postwar Japanese society and instead draw a line ble to transcend the current focus of research on By utilizing the notion of the fantastic, it is possi Modern Japan may have become civilized and In addition, in order to avoid cultural essential ------42 seemingly peaceful everyday life. used to discuss what lies beneath the surface of the line of popular culture products that have been than reality itself and cinema is but one in the long spaces and authors. Fantasy at is, times, more real Email: popular culture, gender. and society, Japanese contemporary cinema, Japanese Women.ty Leena’s primary research interests are support from Japanese Association of Universi nese Studies. Her essay has been written with the the University of Helsinki who is majoring in Japa Leena Eerolainen is aFinnish PhD Candidate at [email protected] - - ISSUE 3 - (pp. 1-14). 1-14). (pp. JapaneseHorror Cinema 43 Hereford: Noir Publishing. Retrieved from http://www.kojinkaratani.com/critical Retrieved New York: Columbia University Press. University Columbia York: New (pp. 103-122). Hong Kong: Hong Kong University Press. University Hong Kong Hong Kong: (pp. 103-122). (pp. 159-172). Berkeley: University of California Press. Retrieved from from Retrieved Press. California of University Berkeley: 159-172). (pp. [1981] 34(3), 16–25. 34(3), [1981] Manchester: Manchester University Press. (pp. 88-112). Japan: Firumu aatoasha, 2012. 2012. aatoasha, Firumu Japan: 88-112). (pp.

& New York: Rodopi. Rodopi. York: & New University Edinburgh Edinburgh: Press. and the Modern Horror Film. Ashgate. Ashgate. Choi, J. & Wada-Marciano, M. (Eds.), Horror the to Extreme: Changing M. Boundaries (Eds.), in & Wada-Marciano, J. Choi, Asian Cinema 89-120. 31(1), Studies, Japanese of Interwar Japan. Journal The Routledge. (Originally published in 1981) in published (Originally Routledge. Horror the to Extreme: Changing Boundaries Hong Kong: in Asian Cinema (pp. 1-12). Press. University Hong Kong Methuen,York: Inc. Identity. Shion - A Forty Years Quarterly: Film A. B., & Martin, Henderson, (Eds.), in Beings”, Selection http://publishing.cdlib.org/ucpressebooks/view?docId=ft5h4nb36j&chunk. id=d0e3725&toc.depth=1&toc.id=d0e3725&brand=ucpress. Reprinted from Film Quarterly Press. space/old/special/asada/voice0003.html

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Asada, A. (2000). J-kaiki no yukue. A.Asada, (2000). References ASIA IN FOCUS Zamora Parkinson, &Faris, L. W. (2003). B. Introduction. In Parkinson Zamora, &Faris, L. Yomota, (2010). I. kaiki sakihokoru wa no eiga Ajia Higashi Japanese Contemporary on Media’s Impact New (2009). M. J-horror: Wada-Marciano, Sharp, J. (2009). Film. Horror to Japanese Introduction master Yoshihiro (2016). J-horror M. Nakamura returnsSchilling, to form. (2010). K. J-horaa no yūrei 2010.Ōshima, kenkyū. shoten, Akiyama Japan: Napier, J. (2003). S. The Magic of Identity: Magic Realism in Modern Japanese Fiction. Napier, J. (1996). S. The Fantastic in Modern Japanese Literature. London: Routledge. Nakata, Shimizu, H., T., & Takahashi, (2015, H. October). of J-horror. Masters Wee, V. Remakes. (2014). American Their and Cinema Horror Japanese Uchiyama, (Ed.) K. (2008). e. kairo: no Kaidan kara e J-horaa Kaiki to gensō Todorov, T. (1975). The Fantastic: AStructural Approach to Literary Genre. Cornell USA: Söderman, (2014). L. Medieval Buddhist Textuality –Kyōgyōshinshō as Literature. In Shimura (2015). M. Hōrō suru fukuinhei –Kurosawa Akira eiga no yūrei ochūshin ni. In London: Duke University Press. (Originally published in 1995). W.B. (Eds.) Theory, History, Realism: (pp. Magical 1-14). Community Durham & 1-18. symposium, Press. University 103-122). (pp. Cinema Kong: Asian Hong in Kong Hong Boundaries Changing Horror Cinema. In Choi, J. &Wada-Marciano, (Eds.). M. Extreme: the to Horror Routledge. kamura-returns-form/#.VqidPVlrtz8 http://www.japantimes.co.jp/culture/2016/01/20/films/j-horror-master-yoshihiro-na 1995). in published Community In Parkinson Zamora, &Faris, L. W.B. (Eds.) Theory, History, Realism: Magical Shinjuku Piccadilly organized by Tokyo International Film Festival. Cinema Shinwasha. Paperbacks. Studies. Japanese for Center Research tional ”Japanese studies” from practices in the Nordic Region (pp. 105-118). Kyoto: Interna Rethinking kara = jissen Sano, (Eds.). no &Ryū K. M. Hokuō saikō – kenkyū Nihon Studies. Japanese International for Center Research Komatsu Kazuhiko (Ed.) Kaii, yōkai bunka no dentō to zōsoku (pp. 219-232). Kyoto: midnighteye.com/books/introduction-to-japanese-horror-film/ (pp. 1-10). Oxford: Oxford University Press. (pp. 451-476). Durham &London: Duke University Press. (Originally 44 . Japan: Fukuoka kokusai bunka Retrieved from http://www. from Retrieved Retrieved from from Retrieved Talk show at New York: New Japan: Japan: - - ISSUE 3 45 [Film]. Shōchiku. [Film]. [Film]. Tōhō. Tōhō. [Film]. [Film]. Mirovision. [Film]. [Film]. Uplink Company. [Film]. [Film]. Daiei. [Film]. [Film]. Argos Films. [Film]. [Film]. Shōchiku. [Film]. [Film]. Tōhō. [Film]. [Film]. Daiei. [Film]. [Film]. Art Port.[Film]. [Film]. Tōhō. [Film]. [Film]. Tōhō. [Film]. [Film]. Tōhō. [Film]. Honda, I. (Director). (1960). Gasu ningen Tōhō. dai-ichi-gō[Film]. (1960). I. (Director). Honda, Gojira (1954). I. (Director). Honda, Imamura Productions, [Film]. ari ni Shōchiku. ware wa Fukushū (1979). S.(Director). Imamura, Ran (1985). A. (Director). Kurosawa, Rashōmon (1950). A. (Director). Kurosawa, Akarui mirai (2003). K. (Director). Kurosawa, Doppelgänger (2003). K. (Director). Kurosawa, Mojū (1969). (Director). Y. Masumura, Audition (1999). (Director). T. Miike, Daiei. Ugetsu [Film]. monogatari (1953). K. (Director). Mizoguchi, Shōchiku. [Film]. heya ikenai wa – sunde Zan’e (2015). (Director). Y. Nakamura, Gekijōrei (2015). H. (Director). Nakata, Ringu (1998). H. (Director). Nakata, Ijintachi no natsu (1988). N. (Director). Ōbayashi, [Film]. Tōhō. Densō Tōhō. ningen [Film]. (1958). (Director). J. Fukuda, Bijo ekitai to ningen (1958). I. (Director). Honda, Filmography Filmography Ai no koriida (1976). N. (Director). Ōshima, Onibaba (1964). K. (Director). Shindō,