RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - 220 . The

was released, under the name of under The released, was . While avoiding to dwell excessively excessively dwell to avoiding . While and bunraku Ringu and its curse, we are facing an innovative and an innovative facing are we onryō and its curse, matic specters in these two cases relates to tradition and, tradition to cases relates in these two specters matic the tape haunts is ghost who the killer how particularly, — not only in film, but also tradition in Japanese rooted like theatre, of forms Japanese traditional and in folklore kabuki argue we matrix, a psychoanalytical by on inputs marked culture the ambiguity of the ghostly in the Japanese that are these representations feeling the uncanny enhances of infused nature filmic and viral due the with, to and that this of the ghostly. enticing version In 2002, Gore Verbinski’ remake of ’s 1998 of Nakata’s Hideo remake Verbinski’s In 2002, Gore film about a ghost Japanese novel film is basedsuccessful on a tape. a cursed video watch to dare all those kills who that both a films struck as aesthetically, as well Narratively, extremely and were audiences, with their intended chord also of movie the Asian remake successful. The western fueled in addition started which a trend, seems have to set out to In this paper we horror. in Japanese an interest ghosts. respective with their analyzedeal these films how ofOur focus the cine will be the management on how — Abstract MARISA MOURINHA MARISA [email protected] MARISA MOURINHA MARISA Studies Comparative for Lisbon, of Centre University Cassetes assombradas, cópias assassinas assassinas cópias assombradas, Cassetes Haunted tapes, killer copies Haunted — cinematic ghosts in Ringu in Ringu ghosts — cinematic The Ringand em cinematográficos — fantasmas Ring e The Ringu RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 . - - - - 221 de , o remake , o que veio a alimentara queo , veio . Evitando re . Evitando e o bunraku ocidental do filme asiático parece também parece filme asiático ocidental do - mui e que, representações estas que habita | | terror | onryō | fantasma | The Ring| onryō | horror | ghost unheimlich correr demasiadamente a contributos marcados por umamarcados a contributos demasiadamente correr queambiguidade a argumentamos psicoanalítica, matriz potenciajaponesa sensaçãoa cultura na fantasmático do de onryō e da deste e viral fílmica natureza da em função to - e estimu uma inovadora perante estamos maldição, sua fantasmático. do versão lante Ringu Ringu em 2002, nome The o com lançado Foi Ring RinguNakata, de filme 1998 do de Hideo Verbinski Gore um japonês romance num O filme é baseado sobre popular ver a que se atreverem aqueles todos que mata fantasma - Ambosobti assombrada. os filmes vídeo de uma cassete - su muito audiências, suas e tiveram das junto favor veram cesso. O remake remakes de uma vaga começado ter um que cada artigo o tratamento analisamos Neste nês. foco fantasmas. O será respectivos dos faz filmes destes cinemato espectros dos gestão a como forma na colocado es e, a tradição com casosdois relaciona se nestes gráficos que assombra a fantasma assassino como o pecificamente, japonesa — não sóno na tradição raízes as suas tem cassete tradicionais e em formas cinema, mas também no folclore, o kabuki japonês, como teatro de um interesse por parte do público no filme de terror japoterror de por no filme parteum interesse público do Introduction Over the last two decades, a specter has been a specter the production cinema haunting of horror decades, two the last Over of Japanese spirit of the onryō specter is the figure , or the avenging That the globe. around 2015, 199) (McRoy folklore. — Palavras-chave — Keywords — Resumo If cinema started out as a chemical pinning down of moving images onto a strip of a strip film, onto of images moving pinning down If cinema started out as a chemical first, alchemical, be, less to ghosts in a tin can, it has grown encapsulate to thus allowing and then, flammable, less and the films stable more the emulsions made as research MARISA MOURINHA MARISA RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - in was was 222 Rasen (1998) came in its home video in its home video Ringu (Ring: Kanzenban . 1 (Hideo Nakata, 1998), but while the latter latter the 1998), while but Nakata, (Hideo (Cf. Phillips and Stringer 2008, 299). 2008, and Stringer Phillips (Cf. film made it travel the world, namely in namely world, the it travel film made the material they had been and the result given, the material Rasen was a box office and critical success. Such was its success, was its success, Such critical success. a box office and was The Ring The and (1998) is a Japanese film directed by Hideo Nakata. Based on the Nakata. 1991- nov by Hideo directed film (1998)is a Japanese The success of Nakata’s 1999 Ringu of Nakata’s The success Back in the days in which analog was still a thing, while VHS was preparing its slow its slow preparing was VHS thing, still a was while analog which in in the days Back - How chance. to much owes particularthis role that fulfilledhas this movie fact The Ringu Ringu release), released in Japan in 1995. In 1999, the Japanese television showed a 12 showed episode series named Ring: television in 1995. the Japanese In 1999, in Japan released Therelease), the films or the to way in any not connected some it is apparently for time, in preparation ; arguably Chapter Final of miniseries 13 episodes titled and sequela television year, same That adaptation. television previous also made. The first adaption of Suzuki’s novel was actually a television film, Ringutelevision was actually a novel of Suzuki’s adaption The first

bootleg VHS tapes. Legend has it (Lacefield 2010, 2010, in Gore landed one of thesebootleg has it (Lacefield 6) that VHS tapes. Legend 1 less material, as film gave way to the digital. If cinema is, as Derrida puts it, puts Derrida is, as cinema If to the digital. art“the way of gave as film material, less Ghost McMullen, 1983), Dance (Ken back” come to ghosts de the summoning allowing the up to its way creeping but decisively arduously was and DVD exit stage but steady depended that of one the genres over come to was change a curious market, home video a few were there of the slasher, tear and the wear After horror. market: the most on that - a fran and footage, found experiments with pretense air; these included of fresh whiffs soon that a metafictional in self-awareness, from derived with a kind of irony chise ofneed in twist,a indeed scene was horror when The becameweary. pends more and more on zeros and ones, and less on physical support. physical on words, In other and less and ones, on zeros and more pends more itself. or the machine machine, either in the is, increasingly, the ghost ever, the storyline has some very powerful elements which were dealt with effectively with effectively dealt were powerful which has some very elements the storyline ever, of the remake: director the American of and the original director both the Japanese by skillfully translated way in their own each along. This movie about a haunted video tape ended up contaminating the way horror horror the way tape up contaminating video ended a haunted about along. This movie the genre rethink to and concepts the tools provide and helped as a genre, operating was the turning of the millennium. at translation to refer to chose both for We of their audiences. suitable extremely proved of remake a facing an American are we find it particularly fitting, as we since this case, is, in turn, which an — tradition folklore rootedown film and in their each film — Japanese it and entangled, sometimes The quite knot is of a novel. one) not the first (and adaptation is original to pinpoint what becomes difficult - basical while in the plot details a few Suzuki, Kôji of name by the same it changes el re was It tradition. has solid roots in the Japanese which material, ly using the same leased simultaneously with its sequelits with simultaneously leased was quickly dismissed, Ringu quickly was Kim Dong-bin, by directed remake a South was Korean there year, in the following that and a TV (1999), series, more Virus Ring the name of became known under The which in Japan aired was based on the novel, closely MARISA MOURINHA MARISA RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - - ), 223 series , there , there Kairo (David (David Honogurai Honogurai , several Japa , several - Ameri , three , it also purchased , it also purchased and TheRing (based on TheRing / (a remake of remake Pulse(a ), (Alexandre Aja 2008) and The 2008) Aja (Alexandre Dark Water novels have had three new volumes, volumes, new three had have novels (1995) (1998). and Loop Chakushin ari (1991), Ju-On with the the 2016, including crossover (based on 3 — this last case is particularly interesting, since Takashi Takashi case since is particularly — this last interesting, , it has given origin to at least six six least at to origin , it has given 2 ; it did not stop with Japan (or with horror, even in this case even with horror, (or with Japan not stop ; it did 4 , is released, after a suitable marketing campaign, and is met with campaign, met and is marketing a suitable after , is released, One Missed Call gave way to Grudge The The Eye films, and The of South Korean remakes are 2009) Brothers (Guard Much has been written on this craze of remakes (Wee 2014), the alleged drift to 2014), the alleged (Wee of remakes has been on this craze written Much Not only has it caused these follow-ups, but it also set a trend, by triggering a number triggering by but it alsotrend, set a it caused only has these follow-ups, Not Phantom children and vengeful tapes vengeful and children Phantom meaning, of in its most common the pres that “ghost” the word Let us consider Ju-On The remake is set in Japan as well, but many of the characters were changed so be they would Americans. changed were of the characters but many as well, is set in Japan The remake And here we leave out the Korean version we have mentioned before, as well as a few Chinese productions. a few as as well mentioned before, have we version out the Korean leave we And here It had started out as a trilogy, including Ring including had startedIt out as a trilogy,

Uninvited production. is based on a 2002 2008) Hong-Kong-Singaporean Palud and Xavier Moreau and 2018; Martin 2015) and the differences (Balanzategui aesthetics an Asian wards Specifically on Ringu poles. perceived the two between similarities we are limiting our analysis to this genre), since Mirrors since this genre), to limiting our analysis are we 2 3 4 MOURINHA MARISA very positive reviews. The success of the film quickly built up to a small cult, a to up built by aided quickly of film the The success reviews. positive very Ringu to rights bought remake the “when DreamWorks that the fact Verbinski’s hands; the poor quality of the copy made its mystique all the more powerful all the more the poor mystique its hands; made of copy the quality Verbinski’s - Verbin 2002, in October began: adventure 2010, overseas the hence 6). And (Lacefield The remake, Ringski’s of Ringu the example after of movies: Asian remakes of Western its distribution rights for the U.S. theatrical and video markets” (Herbert 2010, 167). 167). (Herbert 2010, markets” and video theatrical the U.S. for rights its distribution in a pe heads public’s the into had gotten which ghost story Japanese a And this is how abouta cursed videotape film A feature the mainstream. by appropriated was culiar way being after advertised on TV, the world, to there and from the U.S., to Japan from travels circuit. Along DVD the to its way it makes until websites, ofand via a series promotional the Ring born. write, was As we a franchise the way, three the original to in addition Shiraishi. Kōji by , directed Kayako vs Sadako including success, relative with remade were nese films ), no soko kara mizu and both versions Shimizu directed can films and seven Japanese ones films and can seven are countless studies comparing both movies’ intake on horror, gender, and the ghost gender, on horror, intake both studies comparing movies’ countless are ly, with different strategies and outcomes (Wee 2011; Benson-Allott 2013; Walker 2017;Walker 2011; 2013; Benson-Allott (Wee and outcomes strategies with different ly, of ghosts and images, to analyzewant their treatment we In this paper, 2010). Lacefield tradition. to relate these ghosts and images focussing on the way as it embodies of insofar ence something absent, the of with a quality juncture, hence In a exclusive. mutually their nature, by are, which worlds between threshold very of in the otherwise sense smooth surface the glitch in sense, the ghost is the impossible, RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - 224 ; they 5 (vengeful spirit) spirit) onryō(vengeful : an The Ring and Ringu (Derrida 1993, 32), something which was no longer there there 1993, longer no was (Derrida 32), which something ) has found the way to get into your world — first, through — first, through world your into get to the way ) has found revenant And this is precisely what we find in we what precisely this is And The opening scene of both movies may be summarized as follows: it starts it openingThe out be scenefollows: as summarized of may both movies Ghosts and the uncanny the and Ghosts What of the tape the content the viewer. is unknown to So is the premise. far, That The reference to the American tradition of slasher films has been noted, for instance by Benson-Allott (2013, 105). by Benson-Allott instance for has films noted, been of slasher tradition American the to reference The

5 MOURINHA MARISA and then came back, an entity that travels between dimensions. between travels an entity that back, and then came a given system of meaning. Whatever the context, the “ghost” depends on a bending on a depends of “ghost” the context, the of meaning. Whatever system a given - an un to refer to image” “ghost say in question: we rule the environment that the laws the in be or genuine, to original considered is which of image another duplicate wanted - perceiv real, very describes a limb pain” “phantom of device; a malfunctioning context phantom, ghost or the specter body part. removed way, afflicts a Either pain which able it, puts Derrida as is, a folklore brushing up on contemporary while giggling friends teenage with two which inhabits a cursed tape but, as the viewer will find out in what is arguably the crux is arguably a cursed tapewhat but, inhabits will find out in as the viewer which - Fred Craven’s Wes While out of world. the TVof the real the plot, into move set and can asleep, were you while , 1984) you only get could Street Elm on (A Nightmare dy Krueger in The Samara (or RingSadako magnetic the leaving somehow later, days a film in a VHS tape and then, precisely seven superof - version “an upgraded be: you may wherever of the tapefield and materializing 24). 2007, (Ancuta of the digital age” with the requirements compatible malice, natural mention an urban legend about a cursed tape, which kills all those who watch it with- all those watch kills who which about a cursed tape, legend mention an urban she how confesses remake), in the American (Katie, One of them, Tomoko in a week. her TV it is left alone, turns on by she when before; a week has seen the tape, exactly anxious; and the incident, but is perceivably downplay to and tries turns it off, she self; we Literally: out of her. the life does not see, scares the viewer then something, which had she whom with the friends as are is dead, Tomoko/Katie scene that in the next learn their hearts that only tell The autopsies the tape; all of them died inexplicably. watched rest. the explain faces in their looksfear stopped;of contorted, the disfigured unseen.- remained commen And this became for fodder and Katie Tomoko killed ever or of the unseen terror, infuses the seen on how versus feelings fueling the debate tary, Daniel the two. between the difference on musings extensive by accompanied horror, existing crit compiling while and, matter profusely on the Martin (2015, reflects 22-40) is “Waller soand — we: would Waller Gregory with sides subject,the on icism takes he of on the restrained of the writing tone much uncomfortable with the adversarial clearly mis is two the oppositionthe between that claims he and modernand horror, tradition simplistic: is, among other things, 2015, 25). It leading” (Martin RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 ------), 225 (2002) taps into taps into (2002) (1999) and The (1999) Ring and other B-movies are partB-moviesand other are they ofreason the Ringu deal with doubles and gazes, and are films in which the eye has a very very has a the eye which films in and are and gazes, with doubles deal In other words, when in these films one is faced with the impossible, one is already one is already with the impossible, faced in these films one is when In other words, Freud’s essay deals with a E.T.A. Hoffmann tale (“Der Sandmann”, 1816) in (“Der Sandmann”, tale Hoffmann a E.T.A. with deals essay Freud’s as a result of the uncanny hand is this idea at the analysis for is productive What Aesthetic and narrative issues aside, this discussion seems to overlook the fact the fact this discussion seemsoverlook issues aside, to and narrative Aesthetic This approach to the genre unjustly serves the past as well as the present. We would do do would present. as the We as well the past unjustly serves genre the to approach This con- between relationship the that prove which . . . films to attention pay I think, to better, between the distinction simply than more much involves horror age and golden temporary Martin 2015, apud 25) (Waller suggestive. the atmospherically and direct the graphically willing to embrace it as not only possible but as starkly real. Right the beginning from real. but as starkly it as not only possible embrace willing to themselves reassure to they try uneasiness: by the girls’ of the film,obvious this is made that kind of psychological material, long forgotten, with which the viewer is faced and is faced the viewer with which forgotten, long material, kind of psychological that they explore about when writing are escape these cannot authors the kind of uneasiness or taking to Freud, according revived, complex repressed the of the uncanny: the field of in this tale ghosts and gaz stake is at is what terms, in lacanian home, the unhomely shutters. and wells copies, films and es, which the theme of eyes, and that of doubles are of particular are importance. of doubles Rin and that Since the theme of eyes, which In it, resort to symbolism, piece. this undertakes an to Freud strong it seemed suitable attrib He story. Hoffmann’s reading one experiences feeling of the uncanny analysis but still relatable, foreign, with something uncomfortably of familiar; an encounter para a as of double the idea the Also, way. unexplainable or unexplained an in though rely on atmosphere rather than special effects: the choice between “graphic” and “sug and “graphic” choice between than special the effects: rather on atmosphere rely see them. of is but one This kind as some dualism often is readings not as free gestive” on the heart the essay hand. Also, at of every at the analysis over lurk that of the risks by on the subject made the considerations of circumventing the danger ghostly lies 1919his in Freud, “The 1953); (Freud Uncanny” text om- less a not and hazard, another into his categories of and forcing hyperbolizing their functionalities, is that inous one, Sorting such out categories. fit the to the analysis forcing worse, even — or, the analysis task. is no easy trials gu and The Ring Within the material. infantile of repressed the return to of this feeling the arising utes of castration; the fear with eyes one’s of losing the fear he equates of the story, context (doppelganger double of the Sandman is that ofbut another leitmotiv Hoffmann’s thus, this ex terms, In freudian of the child. narcissism is the primary whose source in our of forgotten something long return the from stems periencing of the uncanny at the uncanny placing (2014) further, Lacan it one step takes history. psychosexual of his theory of anxiety. the core node. densea psychic represents it as us, insofar to interesting is ofdigm uncanny the behind Ringu the storyline that suggest to want We that the budgetary constraints of constraints budgetary the that MARISA MOURINHA MARISA RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - - 226 ) has (ghost story) tra (ghost story) (and its western doppelganger its western (and repertoire, but it was not, at least until the late 1990s, not, until the late but it was least repertoire, at a ghost, in this case it works the other way around. Even if one does not know it if Even around. other way a ghost, the in this case it works The Japanese film’s storyline and aesthetics are set in such a way as to create anx to create as way a such in are set aesthetics and storyline film’s The Japanese ghosts Japanese - to the psy contributes the film strongly to relates the spectator way the Therefore One of the reasons behind the success of Ringu success One of behind the the reasons The relief the two girls feel when they learn the caller’s identity does not entirely reassure reassure does not entirely identity the caller’s they learn when feel girls the two The relief game the Is web. media claustrophobic a in caught feel because already we viewer, the of cursed video the the legend Is mother attends? one Tomoko’s the same on television tape told by Masami the same one experienced by Tomoko? Can the phone that carries carries that Can the phone Tomoko? by one experienced the same Masami by tape told case a technological In each of the power the curse? also carry voice mother’s Tomoko’s while experience promise shared the of offers telephone) videotape, medium (television, and infection. 2015, of (Lowenstein suffocation 82) the threat conveying simultaneously see chological effect of the narrative: you may call it terror or horror, or evoke the category category the evoke or horror, or terror it call may you narrative: the of effect chological this is that stands that weight, but one fact with all its psychoanalytical of the uncanny, as they may sensibilities, disparate the viewers’ speak to which has a set of story details and one an innovation sense,forth is indeed bringing be. In that the of the onryō folklore of it is a leitmotif the kaidan culture: of Japanese the mark bears which to do with this revisiting of extremely and often effectively repressed terrors and, most terrors repressed and often effectively of extremely with this revisiting do to nor par- puts us a ghost — and this is not new, before The plot it is done. with the way ly, they one afraid makes the orthodoxy of stories while haunting disturbing. But ticularly will be is to feared. that gaze own the start,at it is the ghost’s as it is with its own tinted remake, and its American in the viewer, and uneasiness iety has been who it is the ghost of a child that the fact on that. by This is aided tics, builds trust dependand of to upon that, top on those beshould — by she able (and, wronged sadly and and this is one); in the American father film, the the mother in the Japanese peo have we victims, the point of from of view the ghost’s moreover, relatable; utterly a ofrunning into perspective the a bootleg (unlike again, — and, watched have who ple burying a sacred a house building over or accidentally maniac, brandishing chainsaw happen it could you. like to feel it does ground) ofdition, the kabuki and a staple MARISA MOURINHA MARISA (one states the story of the cursed tape is but a rumor, the other claims she was joking joking was she claims the other of tape the cursed story the rumor, but a is states (one For phone. ringing of the by the terrified are but they tape), seen a strange about having movie, that, in a horror the agreement from stems obviously the anxiety the viewer, will happen. not as innocent seem, as they are uncanny something As and that things mentions Lowenstein RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198

- - - 227 ), or the ), or the film is very dif very is film Ringu , which gave us gave which , 6 as the zombie make-up has aesthetics, whose roots can whose roots can aesthetics, (1999), whose influencewhose can (1999), be , and reflects this tradition: pale pale this tradition: , and reflects ( 2002). A whole whole A 2002). Shimizu (Takashi kaijū eiga kaijū repertoire. The depictions of The depictions ghosts repertoire. — and long black unruly hair. In unruly hair. black onryō — and long

Ju-On , 2001), or M. Night Shyamalan’s ghosts ghosts Shyamalan’s Night M. or 2001), , , in which a young woman has a love af has a love woman a young , in which 7 Audition , Yurionna (a vengeful spirit) kills Mosaku Mosaku kills spirit) vengeful (a Yurionna , franchise. (Shin’ya Tsukamoto 1989), you still do not have have not do still you 1989), Tsukamoto (Shin’ya dead, they may not even know they are dead, dead, are they know even not may they dead, look play in the kabuki play — and, later, in later, and, — Tetsuo Ugetsu mo Ugetsu spirits): and onryō (vengeful ghosts), (female as well, owe much to the kabuki to much owe as well, Ringu and the Saw (1965). These bear features which are very close to the kabuki to close very are which (1965). These bear features means “strange creature”. “strange means onryōin , 1999): they do not do they 1999): , is the story of a potter who is seduced by the spirit of a noble woman; Kwaidan woman; of is seduced a noble of the spirit is the story a potter who by is “film” and kaiju is “film” Compared to western representations, these ghosts are more like Alejandro Alejandro like more theseare ghosts representations, western to Compared The characterization of the ghost of Sadako in the Japanese Japanese the in of of ghost the Sadako characterization The For that purpose, one would have to go back to the 1950’s and 60’s, and to films films and to and 60’s, the 1950’s to back go to purpose, that have one would For (1939). Chrysanthemum Last the of Story The Miziguchi’s to unrelated is entirely It Eiga

tradition of stories about yurei of stories tradition in the marry the living — like even They may people”. regular like “they around walk Spirit” of tale “Themedieval Chrysanthemum The Others (The children her and Grace Amenábar’s nogatari stories. ghost period’s the Edo to back be traced Sense Sixth (The is an adaptation of what is of what is an adaptation kaidan Yotsuya is a portmanteau and Tōkaidō of ghost stories; the most popular onryō probably in these films, and in Ringu Lady Wakasa seducespotter; the in Kwaidan Wakasa Lady she later years because him handsome; finds she much so so that Minokichi, but spares with years for live one can lore, In Japanese children. his marry him and have on to goes tradition. as it is in the western it. is not so radical a ghost without realizing The alterity fair with the spirit of a flower, until it is plucked and killed (McCormick 2013); in Ugetsu,(McCormick and killed plucked until it is of a flower, with the spirit fair The in the American of Samara that from Ringferent look in kabuki a ghost hair is as classical black and long face vary, theatre Japanese in classical ghost characters for Masks be to in the West. grown who, female wronged as an onryō : the lonely recognizable is immediately but Sadako — the Earth upon others end, roams unleashing and violent her untimely met having In both revenge. for thirst — her often unquenchable tales usually men, in traditional of — reminiscent the attire is seen white in a long the ghost of Sadako/Samara movies, kabuki by kimono worn burial white traditionally their bearer’s signaled hairdos important very hair is as a symbol — traditionally, Japan, - con right; in its own a genre be 1954) considered may and Honda and the like, (Ishirō 1977 (Hausu House Obayashi’s of Nobuhiko hallucinations the psychedelic sider films, like recent more recall if you Even Ishii. Teruo by directed fantasies exploitation cyberpunkthe body-horror of the like anything Miike’s Takashi product, is well, different as seen in movies like Hostel like seen in movies (1959), kaidan Yotsuya Tōkaidō (1953), Nakagawa’s monogatari Ugetsu Mizoguchi’s like Kwaidan or Kobayashi’s 6 7 MOURINHA MARISA a regular feature of . Just think of think the Just horror. of Japanese feature regular a RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - 228 , for , for 8 ’s) cursed ’s) ’s horror depends depends horror ’s ’s Oiwa, Oiwa, ’s Kaidan Yotsuya ’s (and The (and Ring’s ’s fist story, “Kurokami”, the “Kurokami”, fist story, ’s ) is thrown into by her lover (or (or her lover by into ) is thrown fans expect to see; expect to also as a consequence fans , what you do see is a young female journalist (in the book, female see do is a young you , what and The Ring Ringu However, in spite of the very quotational apparitions of Sadako in the Japanese Japanese in the apparitions of quotational Sadako of the very in spite However, get you what see is not do you What In Hair is also a very relevant and recognizable feature of feature recognizable and relevant is also a very Hair , 1978. Passion of Empire In English

the journalist is a man), Reiko/Rachel, investigating into the story of the haunted tape. of the story the haunted into investigating Reiko/Rachel, the journalist is a man), the beginning of died at the film,she is who personally Being of the aunt the teenager her to allows had taken and her friends her niece A set of photographs as well. involved woods in the in which the cabin to steps their start retraces the quest, quickly and she becomes thus and too, it seenhad watches She tape. the friends her and Tomoko/Katie of her ex-husband this point, enlist the help to At decides she die within a week. to fated al- of it. copy him a Further investigations tapehim the leaves and shows Ryuji/Nathan, of tapethe the and “author” the of Sadako/Samara, story the together piece to them low had gotten their son Yoichi/Aidan it. through Meanwhile, haunts that spirit avenging movie, they are not what makes it so weary — this dialogue with a folklore and cine — this dialogue with a folklore it so weary makes not what they are movie, that matter). It is also worth mentioning how, in Kwaidan is also worth It how, mentioning matter). that hair. black long his ex-wife’s by is killed swordsman the mood, but Ringucreate to contributes no doubt tradition matic (it the story tell help that footholds on the visual than not shown, are you on what more than know more they what fear characters version): soAmerican less in the is arguably short they see, because, the very film other than they tape, of the cursed what they fear — nor does the viewer. not seedo much 8 MOURINHA MARISA social (even marital) status and the grooming of one’s hair has always been very strong been very always hair has of grooming and the one’s status marital) social (even ly associated with one’s social and moral position: “People with loose loose hair had social position: “People and moral ly associated one’s with - (Hiltebei M. Nelson Sarah writes of things”, order the proper outside and were morals 1998,Korea. influence 111) and Miller in tel Japanese on her piece in tape, or not to see a clear mention of Oiwa’s in Sadako’s distorted eye. As it is hard not to not to As it is hard distorted eye. in Sadako’s mention of Oiwa’s seetape, or not to a clear (the Okiku which into of the well as an echo is thrown Sadako which into the well recall Banchō called play Sarayashiki a bunraku from character Bōrei no Ai Ōshima’s body in Nagisa is thrown the husband’s which into the well of the poisoning, her hair starts to fall off in one famous scene in which she combs her she of the poisoning,which famous in scene off starts in one her hair fall to confronted when mind to these bring images not to is hard It of a mirror. hair in front in Ringu the mirror her hair before combing with the woman probably the best-known Kabuki ghost. Oiwa is depicted with the usual white burial ki- burial usual white with the ghost. is depicted Kabuki the best-known Oiwa probably nature. her spectral signals that and blue face and the white hair, ragged the long mono, drooping injured, been has a severely she poisoned having her husband, by Moreover, kabuki of the kind horror matches which eye, RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - 229 . In the first first the In . 9 , Sadako’s face is face , Sadako’s ; after one has seen; after : Samara’s father commits suicide by electrocuting himself. electrocuting by suicide commits father : Samara’s tradition with just that hint of technology: Sadako does Sadako hint of with just technology: that tradition Only at the climax, near the very end of end the film, plot sudden twist of the with the very the near the climax, Only at In that first scene of Tomoko’s/Katies’s death, and this is truedeath, for ren- both filmic Tomoko’s/Katies’s first scene of In that spirit, Being a vengeful a shutter. like works eye kino-eye, Sadako’s Vertov’s Like Actually, there is one more death in The death is one more there RingActually,

9 MOURINHA MARISA hold of the tape and watched it too, so they have extra motivation to lift the curse. They They lift curse. the to motivation extra sotoo, it have they of tapethe hold watched and with and, expire days seven Reiko’s/Rachel’s right remains before her find to manage time happens: then something Ryuji’s/Nathan’s when But safe. that, are they think they of annals the into his TV way its is up, earned in a sequence and, itself on by turns that ofout TV the room, living his ap — him climbs into set kills and Sadako/Samara horror, com- — or the first death see to the first get we the curse), they had lifted thought (they begin- very the at of the movie: storyline the die in people Five sequence. death plete Ryuji/Nathan end, very the by and, friends; her and ning,Tomoko/Katie parently, he dies out of sheer terror, as she lays eye(s) on him. eye(s) lays she as terror, out of sheer he dies parently, ditions of the story, we do not see the ghost nor the actual death (while in the book the (while not see do the ghost nor the actual death we ditions of the story, in the Japanese which, of mask horror frozen that Just of is described). dying process there and — film negative a in if as inverted, shot,still a becomes colors its with version, - her appari drives that embodies her gaze out of the rage life her subjects; drains she the kaidantions, and updates case, we see little of Tomoko’s/Katie’s death and nothing of her friends’; we merely merely we of and nothing her friends’; death see of Tomoko’s/Katie’s we little case, while see behavior only victim; we her nervous is not the she that her funeral at learn discussing and her up as they are the subject building her anxiety her friend, talking to in the kitchen is left alone she when see running out; we her uneasiness are days seven peculiarnothing and happening,is TVthe when on.itself turns alarm her We then and with a look reacts she the camera face turns to she when then see behind, and her from wound. no pain, no visible is it: no gore, And that of utmost fear. in volumes: effect, naïve but it speaks rather be a This may difference. a telling in lies technology was not on made much comment being the specificcaseso a movie, of this as such, but on the act, the meaning, of In Ringu and the power gazing. point, that and, at what Ryuji claims she scene in which until the climax revealed never unkempt pitch-black, between gaping distorted eye, the one, seewe of her is just an eye, is given film effect negative the same his body, abandons life of hair — and when bangs terror-contorted of his fear-ridden, the still shot face. to a film with her message impress to you, manages not just haunt she “seven Rachel tells a voice version, (in the American call a phone they receive the tape, seem echo to noises which mysterious hears simply Reiko one, in the Japanese days”; victim, as to her intended gets finally Sadako And when the tape has just she watched). — and this is them. And, with that does is look at she what death, Ryuji’s from learn we the victim seeof twist it all — not only does she them, captures as she the supernatural RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 , - - - - 230 Ringu have that kind that have movie. (William Friedkin, 1973), and so does her: “the machine that reveals the world to you you to world the reveals her: that “the machine , is presented as pale and long-haired, in a long white night white a long in long-haired, and pale as presented , is the ghost of Sadako is. the ghost of Sadako (Cf. Ball 2006, 21). But regarding the visual choices made, it is striking it is striking made, choices the visual 21). regarding But 2006, Ball (Cf. , on the other hand, shows you an absurdly decayed body in the flashback of body in the flashback decayed an absurdly you , on the other hand, shows This is not quite the take of the American version. The negative-image effect is ab is effect The negative-image version. of the American the take quite This is not Samara, in The Samara, Ring Comparing ghosts Comparing tra in Japanese is solidly rooted of the depiction Sadako mentioned how have We sent and the general treatment of the ghost is different. Sarah McKay Ball is one Ball of the McKay of is different. the ghost Sarah treatment sent and the general the ghost towards both films adopt of approach the on the disparity dwells who authors but the story and, thus, vengeful; as wronged is portrayed Sadako and their behavior: de dangerously as in life, while characterized, she is different, and is very of Samara little and American has been be to very noted which and — with a manichaeism ranged — evil Japanese neutral more much how the into this translates of the ghostly; the way representations and ditions of folklore and in a pale although Sadako: natural-looking us presenting with a very is by movie - val shock the same is not corpse-like, not carry she and her apparitions do attire, white in corpses, matter: actual do Nor that for film. Verbinski’s in do ueSamara’s as body Tomoko’s revealing and a flashback remains, of Sadako’s see the retrieving you but, is contorted in horror face her; her mother found Tomoko’s a closet, where inside a sense, for had been as she dead makes (which that, looks almost alive from she aside - than a skel more is little Sadako her corpse most); when Reiko, at by is found hours few as a ghost. of her image all-encompassing a staple in that is such hair that covered eton The Ring resortingfor the special effects scene of to and does not resist the closet, inside Katie her pulls mortal Rachel her out of the water, when remains: of Samara’s the reclaiming body is corpse-like our eyes, — and then it decomposes before incorrupt but basically in- is not so a description much as “corpse-like” to refer here we within seconds. What bodies one; dead in The as it is a cinematic Ring rigor, forensic with vested Exorcist popular made The by was of make-up that the ghost of Samara. and her expression and angry: see do her face, we ragged, is also but she dirty, gown, we in her see — face ghost’s the see ever hardly we film, Japanese the In threatening. is in her ghostly persona, girl; a normal little like looks she more and of her life, flashbacks not do hair; (we her skin black long by framed than a distorted more eye little shows she or bruised, but not torn is pale her partly are visible) but her arms and legs see her face, both on of signs decay, ghost, on the other hand, displays intact. are Samara’s clothes seems be to rotting cuts and bruises, and what with visible and on her clothes, herself nightgown. by her dirtyragged and covered not she is wherever flesh, MARISA MOURINHA MARISA with her photographic eye, but they see but eye, her photographic with as only the machine can see it” (Vertov 1923, 62). The fact that the transit is carried out carried is 1923, transit the that fact The 62). see (Vertov can it” machine the only as Ringu the by conveyed of the uneasiness the core is at both ways RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - 231 (1983)” (Rojas ) first out of the television, gets up up gets out television, of the ) first . Lowenstein notes how notes . Lowenstein - us scene had been in this to as she through on the other hand, is presented Samara, Sadako’s ghost, which becomes more and more corporeal as the film unfolds, moves in moves corporeal as the film unfolds, and more becomes more ghost, which Sadako’s body made the grotesque movements evoke unmistakably that spasms erratic twisted, form dance Japanese an avant-garde of darkness), utter (dance butoh ankoku by famous trained an actress cast Nakata Indeed, Kazuo. and Ohno Tatsumi with Hijikata originating 2015, 98) (Lowenstein Sadako. play to form in this dance For this scene, both Nakata and Verbinski filmed the actress playing the ghost playing the actress filmed and Verbinski both this scene, Nakata For The ghosts also move differently: in that harrowing scene in which the ghost in the which in scene harrowing in that differently: The ghosts also move One of the differences between the American film and the Japanese the in- one is and the film the American between ofOne differences the out the whole movie: with a very strong halo of wrongness and wrongdoing, and ink and wrongdoing, of halo wrongness strong with a very movie: out the whole walking backwards toward the television, and then played the film backwards, in order order in backwards, film the played then and television, the toward backwards walking the of their apparitions. But is distinctive that of movements awkwardness that get to pre if you or neutral, natural, is more Sadako else, As in everything here. ends parallel on her feet, and walks toward her victim. It is interesting to note that “[t]his scene was scene was “[t]his that note to her victim. is interesting It toward on her feet, and walks inspired he was that acknowledges and Nakata novel, original in Suzuki’s not present sci-fi film Videodrome classic Cronenberg’s scene in David a similar by both to is common powerful which a trait, and a very one, therefore 2014, have 422). We the Japanese how This illustrates the novel. by suggested not if it was even renditions, well. as tradition filmic a western to is indebted movie real both is out in the she onscreen and once hesitantly, slowly, very very, fer: moves she this and, all in all, the impression out of after coming the well even her hair is dry, world; physical it is very is that you ghost gives of her is both an omen and a token all around sheds she The water of her nature. lings we have face and the angry flesh the decaying from Aside character. her supernatural aggres more is visibly out of the television climbs that mentioned, the Samara already more and much slowly less but far as well, jerkily moves she Sadako; than Nakata’s sive the the artifice to playing less of owes of quality her presence The unnatural resolutely. tape begins emerging from the well and then out of the TV set, the well if both from tape directors even begins emerging and Samara, Sadako moving unnaturally an show to in order used technique same the not are of“monster” depicting, other detail is that, their choices as in every the fact TV turns itself on, seeof the the figure we When Ryuji’s/Nathan’s the same. exactly still well, out climbing of the and eerily slowly first gown, ghost in the white long-haired hair (actually, head crawls she onscreen; shortly after, clusion of lines of dialogue for Samara: in Verbinski’s film, the ghost’s story is pieced is pieced story film, ghost’s the in Verbinski’s of of Samara: dialogue lines for clusion not Samara which in flashbacks it includes and set of details, with a whole together - com is more the mystery Sadako, Nakata’s Regarding but also voice. a a face, only has never but we see her face, not only never we that the fact by it is underlined and plete, either. her voice hear MARISA MOURINHA MARISA RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - 232 : once you you : once , encloses the encloses , Ringu and a revealing montage in montage and a revealing ), which is the fact that the curse is — or becomes — personal that is the fact ), which — that she had made a copy, and had shown it to someone. She concludes that, concludes She someone. to it shown had and copy, a made had she that — of the curse: it is its viral nature that makes it so effective — and and — disturbing. so soit effective makes that nature of viral its is it curse: the The ghost goes viral goes ghost The of the ghost the presence from so does not stem much story, in this the terror, But When Reiko/Rachel finds out that Ryuji/Nathan has died, even though they though both has died, even Ryuji/Nathan out that finds When Reiko/Rachel in alsobut implied formulated question,This explicitly not . The haunted house refers to a space of recollection charged with affect: alternately alternately with affect: charged of recollection a space to house. The haunted refers MARISA MOURINHA MARISA as such. The bootleg vehicle of the haunting hints at that. is most disturbing, both hints at What of the haunting The bootlegas such. vehicle which quality (a quality the filmic of this ghost is the viewer, and for the characters for - inter in either rendition): seen,the case in of Verbinski’s have as we visually, translates medium, that on tape and, through herself get can who spirit it is a vengeful pretation, of VHS tapes and their bootleg copies the pervasiveness her victims (and not only reach the horror to an innovation but kill them. brings This possibility), it a frightening make “In ghost films, space space: its own remem to belongs the haunting Typically, tradition. film in reverse, than to the choice of including visual effects which give away her ear- her away give which effects visual including of choice the to than reverse, in film in her bodylanguage, hesitations Noah with no down hunts She nature. filmic nestly only describe as a can we and what outbursts static by is disrupted movement but her be out of but the tape, may She jump-cut her prey. towards editing, is progressing as she film. still is she would they had though — which remains Sadako’s/Samara’s and recovered found have has she why question and to life their son’s for begins fear — she to her closure bring — did. She then realizes her ex’s out before had ran days after all, her seven been spared; tape in Ringu the haunted from of a flashback with the help bers the be to inside 206). 2009, have (Lim would thrilling, or tragic” you Once fearsome, case: in this once Not reach. ghost’s be killer the to under house/castle/dream haunted in hor- certain like frames you will haunt and Samara seen their tape, Sadako have you kill you, and and they will do down you — but they will also do hunt to tend movies ror will see we or wit. This ghost has a peculiarity virtue, (which so of your courage, in spite on, in Ju-Onlater and is self-referential a difference makes The only thing that of the genre. ditional ways your brain. to tie a knot in enough metafictional The Ring then She had been the curse going, she exempted. keep to because had contributed she she is learn film,we In the Japanese copy. his own make Yoichi/Aidan help to proceeds is more film the American her father; his grandfather, it to him show make to planning will happen know what to wants question: Aidan with the unanswered and ends vague, it off. the tape; shrugs Rachel will watch whoever to meaning run into its space, it sticks with you. You do not have to somehow aggravate the spirit in the spirit aggravate somehow to have not do you. with You it sticks its space, run into with it will be the contact enough. under into Once coming its wrath: unleash to order least, at not in the tra escape cannot it. pass it on, can you but Or, you ofspell its curse, RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - 233 , toying with its its with toying , 10

. 11 , on the other hand, explores in more detail the physical physical the detail in more , on the other hand, explores is, in fact, very much present in the novel, and also in the film sequel, whose plot is based on an attempt to and alsowhose is basedattempt in the film plot on an sequel, in the novel, present much is, in fact, very Verbinski’s version, on the other hand, downplays this relentlessness of the curse, of the curse, this relentlessness the other hand, downplays on version, Verbinski’s - behav for the ghost’s explanation or no little film, providing the Japanese In a way, In point of fact, a control track (or time code) really just informs a VCR how fast to scan the to fast how just informsVCR a really code) time (or track pointIn of control a fact, actually tells technology ofvideo anthropomorphic mischaracterization but Noah’s tape, tapeeither has no or- Samara’s Noah, For its videotape. The Ring how the spectator reads The latter of obscuring its origins. or is capable does not exist) recorded, never igins (was agency the viewer’s because spectator and the it reduces Noah is particularly unsettling to its technology to the spectator subjects the VCR that suggests It apparatus. within the video 2013, (Benson-Allott 116) subject technology.” of its than affirming her as the rather find out how the curse’s contagion actually takes place. contagion actually takes the curse’s find out how The title of the original novel is a Japanese transliteration of the English word “ring”; this kind of use of word of loan the English transliteration is a Japanese novel ofThe title the original and one of be symbols, them is to of sets writing uses several Japanese in Japan: practice common is a very words with society open contact to is more Japanese restoration, after the Meiji words; foreign write to used exclusively influence. American to II, particularly prone War World and, after the outside Virality

both by the way it presents Samara as a troubled child — thus providing an explanation explanation an — thus providing child as a troubled Samara it presents both the way by qual- the viral, than on the filmic, more insistence movie’s the — and by her behavior for discussed, is a telling already there have we ity of the features the ghost. from Aside tape the cursed the into takes film,which Rachel in the American in the in scene detail infor- access to means booth. reproduction video With has the technological this, she timer dis track’s the master that notices “she otherwise viewer: the mation unknown to study to the copy Noah gives When Rachel (…) gibberish but random not numbers, plays 2013, (Benson-Allott him” unsettle immediately digital blots these tiny lab, in his video it should a tape be (in his view, such would impossible is that interpretation 115). Noah’s is more his explanation but track), control it has no proper since images, any not have as it is, his being it to born Inaccurate fingerprints. without he compares metaphorical: puts it: Benson-Allott As Cætlin the message. deliver to helps explanation ior, underscores its viral nature, its irrational need to be reproduced and its relentless and its relentless be need to reproduced its irrational nature, its viral underscores ior, contagion. for Thepressing Ring MARISA MOURINHA MARISA 11 10 Suzuki (Ball 2006, 40) recalls how he got the idea of “Ring” idea the title the got he for how recalls 40) Suzuki2006, (Ball double meaning of form and sound — the ring corresponded to the rim of light Sadako/ the rim to and sound of corresponded form meaning — the ring double its lid, but also to by covered was into had been she thrown the well when saw Samara also of the ring the idea But tape. the after watching got one call of the phone the tone : since operandi modus the curse’s to applies which of circularity reverberation has the end. This is particularly poignant pass it on, escape in the Jap never to to it can entails anese version, which underlines the need to pass on the curse with Reiko’s determina on the curse with Reiko’s pass the need to underlines which anese version, is sense, the emphasis in that ofthe tape father; her own copy to her son’s show tion to process of the whole nature on the viral RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198

- of 234 the content of the the content Second Takes Takes In Second Intertext”. , through that effect which evokes a negative still of a negative evokes which effect that , through Book X. Edited by Jacques-Alain-Miller. Book Jacques-Alain-Miller. X. by Edited Lacan. Jacques of Seminar The . Amsterdam: Amsterdam University Press. University Amsterdam . Amsterdam: . MA Thesis. North Carolina State University. State North Carolina . MA Thesis. . Berkeley and Los Angeles: University of California Press. of California University and Los Angeles: . Berkeley Wee (2014) has a very interesting and rather detailed analysis of the contents of of the contents analysis detailed and rather (2014) interesting has a very Wee Note as a PhD research of an ongoing This paper within the context has been written , edited by Carolyn Jess-cooke and Constantine Verevis, 153- and Constantine Verevis, Jess-cooke Carolyn by , edited Sequel Film the to Approaches — Critical Press. York of New University State York: New 170. Press. York of New University State Cambridge: Polity Press. Polity Cambridge: Sharing 219-252. Press. XVII. London: The Hogarth Strachey, Vol James by Translated Freud. Sigmund Gore Verbinski’s Ring Verbinski’s Gore 1, nº1: 23–42. 1, nº1: Society and http://www. Culture Literature, of Journal Asian of Chaos”. Technology aulibrary.au.edu/multim1/ABAC_Pub/Asian-Journal-of-Literature-Culture-and-Society/v1-n1-2.pdf. the Twenty-first Century Albany: Albany: Cultures. Asian in Meaning and Power Its 1998. eds. Hair: Miller, D. Alf and Barbara Hiltebeitel, 2014.Lacan, Jacques. Anxiety. MARISA MOURINHA MARISA . Edinburgh: Edinburgh University Press. University Edinburgh . Edinburgh: Film Horror Japanese to Introduction 2009. Balmain, Colette. File VHS to From Spectatorship Video Screens. Shattered and Tapes Benson-Allott, Cætlin. 2013. Killer Galilée. . Paris: Marx de 1993. Spectres Jacques. Derrida, Complete Psychological The of of Edition works Standard 1953. In The Sigmund. Freud, “The Uncanny”. in The and Discourse Ring Technology “Circulations: Herbert, 2010. Daniel. The Uncanny in Japanese and American : Hideo Nakata’s Ringu and and Ringu Nakata’s Hideo Film: Horror American and Japanese in Uncanny The 2006. McKay. Sarah Ball, — Bibliography and the Horror Japanese Contemporary of Horror: “Ringu and the Vortex 2007. Ancuta, Katarzyna. of Turn at the Futurity of Ghosts Cinema. Transnational in Child Uncanny 2018. The Jessica. Balanzategui, the cursed tape is an unavoidable requirement of the film version: it would be harder in would it be harder version: of the film requirement the cursed tape is an unavoidable about tape a cursed countdown tension an embedded with sustain narrative to the film - of metafiction the degree time, the same at its content; without revealing extinction to helps you the tape, shows the film that the fact by attained ality and self-referentialness the sto root of the premise for the very is at of ambiguity which the impression build to presence of the tape itself, and of its material existence. Both renditions play with our with our play Both renditions existence. and of its material of tape the presence itself, translations distinct us slightly present with but they distrust of technology, natural and described. An understandable the tape is never novel both tapes. cursed In Suzuki’s seeing the medium. token, same But, the by considering choice, adequate very probably PD/BD/135207/2017. with the FCT grant candidate, the ghost. We would say that Ringu that say would the ghost. We - lacan more invites thus (and of the gaze on the power claim has a stronger the victims, 2013, 119) Benson-Allott Cf. ian readings: you see though fact that, even ry; is confirmedby the ambiguity such not cursed. are tape, you RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 235 1, AFDF, Japan and Japan AFDF, . . Dir. Eric Valette. Warner Bros., USA, Bros., Warner Valette. Eric . Dir. . Dir. M. Night Shyamalan. Buena Vista Buena Shyamalan. M. Night . Dir. . Dir. Lewis Allen. Paramount, USA, Lewis Allen. Paramount, . Dir. Dir. David Cronenberg. Canadian Film Cronenberg. David Dir. . Dir. Alejandro Amenabar. Dimension, Amenabar. Alejandro . Dir. . . Dir. Gore Verbinski. Dreamworks SKG, USA, SKG, Dreamworks Verbinski. Gore . Dir. [Audition]. Dir. Takashi Miike. , Japan, Japan, Toho, Miike. Takashi Dir. [Audition]. [Tetsuo: The Iron Man]. Dir. Shin’ya Shin’ya Dir. Man]. The Iron [Tetsuo: . Dir. Hideo Nakata. Toho, Japan, 1998, 98 min. Japan, Toho, Nakata. Hideo . Dir. . Dir. Hideo Nakata. Toho, Japan, 1998, 95 Japan, min. Toho, Nakata. Hideo . Dir. USA, 2001, 104 min.USA, 2001, 104 min. 2002, 115 min. 108 min. 1999, South Korea, min. USA, 107 1999, Pictures, 67 1989, min. Kaijyu, Japan, Tsukamoto. 1959, 76 min. Japan, , Nakagawa. Nabuo 1944, 87 min. 1953, Japan, Mizoguchi. Daiei, 94 min. Corporation, Canada,1983,Development. min.89 1999, 1131999, min. 872008, min. . Dir. Jim Sonzero. Dimension, USA, 2006, 86 Sonzero. USA, Jim 2006, Dimension, Pulse. Dir. Rasen Ringu The Ring . Kim Dong-bin Dir. Virus. Ring The Sense Sixth The Tetsuo Dir. Story of Yotsuya]. [Ghost kaidan yotsuya Tokaido Uninvited The Kenji Dir. of Ugetsu]. 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Dir. Ken McMullen, Channel 4 Films, Channel McMullen, Ken Dir. . Dir. William Friedkin. Warner Bros., Bros., William Friedkin. Warner . Dir. , 416-437. Oxford and New York: Oxford University Press. University Oxford York: and New , 416-437. Oxford . Dir. Walter Salles. Touchstone, USA, Touchstone, Salles. Walter . Dir. . New York and London: Routledge. York . New . Dir. Takashi Shimizu. Pictures, Columbia Takashi . Dir. . Dir. Masaki Kobayashi. Toho, Japan, 1964, Japan, Toho, Kobayashi. Masaki . Dir. . Dir. David Moreau and Xavier Palud. Palud. Xavier and Moreau David . Dir. . Dir. Alexandre Aja. 20th Century Fox, USA, Aja. 20th Century Fox, Alexandre . Dir. [House]. Dir. Nobuhiko Obayashi. Toho, Japan, Japan, Toho, Obayashi. Nobuhiko Dir. [House]. [Godzilla]. Dir. Ishiro Honda. Toho, Japan, Japan, Toho, Honda. Ishiro Dir. [Godzilla]. . Dir. Takashi Shimizu. , Japan, 2002, Shimizu. Japan, Nikkatsu, Takashi . Dir. Culture nº2: 151-165.nº2: https://doi.org/10.1080/14680777.2010.521624 Cinema Press. University London: Routledge. USA, 1984, 91 min. 2008, 1112008, min. 182 min. 70 min. 70 1977, 88 min. 1977, USA, 2004, 91 min. 1954, 96 min. UK, 1983, 100 min. USA, 1973, 121 min. 98 USA, min. 2008, Lionsgate, 2005, 105 min.2005, Oshima. Argos Films, Japan, 1978, 108 min. Films, Japan, Argos Oshima. London: Duke University Press. London: University Duke Press. University Columbia York: New Press. University Perikansha. , 164-243.Tokyo: monogatari-e wattata ni In Amerika Spirit”. the to Cinema Silent From Spectrality and — Haunting Ghosts In Cinematic Cinema”. Horror Japanese Academic. Bloomsbury 199–218. Leeder, York/London: Murray New by edited Era, Digital http://dx.doi.org/10.5040/9781501304729.ch-012 Japanese Horror Films and their American Remakes. Translating Fear, Adapting Adapting Fear, Translating Remakes. American their and Films Horror 2014.Japanese Valerie. Wee, . Amsterdam: Amsterdam Amsterdam . Amsterdam: Beneath Lies What Ghost Melodramas: Modern 2017. Michael. Walker, Studies Media Feminist Feminine”. of the Monstrous and the Horror 2011. “Patriarchy Valerie. Wee, Rojas, Carlos. 2014. Carlos. Rojas, “Viral Contagion in the Ringu . Dir. Wes Craven. New Line, Line, New Craven. Wes Dir. . Street Elm on A Nightmare Mirrors Kwaidan Ju-On Hausu Hausu MOURINHA MARISA The Gojira Gojira The Eye The Ghost Dance. Dark Water Exorcist The — Filmography Nagisa Dir. of Passion]. [Empire no borei Ai Japanese Cinema: Texts and Contexts Texts Cinema: Japanese 2008. eds. Stringer, and Julian Alastair Phillips, The Ring. Farnham: Ashgate. Ring.The in Farnham: Anxiety Media Screen: Scary The 2010. Kristen. Lacefield, and . Durham Critique Temporal and Fantastic, the Cinema, Time. Translating Cua. 2009. Bliss Lim, . Media Digital of Age the and Surrealism, Spectatorship, Cinema. of 2015. Dreaming Adam. Lowenstein, Edinburgh East . Edinburgh: Far the from Cinema Cult of Rise — The Asia 2015. Extreme Martin, Daniel. in The Chrysanthemum Regeneration and Imperial Personification 2013. “Flower Melissa. McCormick, in of the Onryō (Re)iterations Hauntings: and Transcultural Remainders 2015. “Spectral Jay. McRoy, RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 236 Aceite 2020-09-02 Aceite Accepted Accepted — iD ORCID 0000-0002-5484-268X — address Institutional Comparative for Centre of Lisbon, University Universidade, da Studies. Alameda 1600-214 Portugal. Lisboa, Recebido: 2020-05-31 Recebido: https://doi.org/10.34619/717f-0y17 — Received — DOI MOURINHA MARISA — note Biographical is a member for of the Centre Mourinha Marisa Studies and a part of their research Comparative Narratives Bodies: Circulations, “Moving project and a PhD in Translation”, and Archives the School of Arts at and Humanities Candidate of Lisbon. of University the