New Terrors, Emerging Trends and the Future of Japanese Horror
Chapter Six: New Terrors, Emerging Trends and the Future of Japanese Horror Repetition, Innovation, and ‘J-Horror’ Anthologies The following pages constitute not only this book’s final chapter, but its conclusion as well. I adopt this structural and rhetorical manoeuvre for two reasons. Firstly, the arguments advanced in this chapter provide a critical assessment of the state of the horror genre in Japanese cinema at the time of this writing. As a result, this chapter examines not only the rise of a self-reflexive tendency within recent works of Japanese horror film, but also explores how visual and narratological redundancy may compromise the effectiveness of future creations, transforming motifs into clichés and, quite possibly, reducing the tradition’s potential as an avenue for cultural critique and aesthetic intervention. As one might suspect, the promise of quick economic gain – motivated both by the genre’s popularity in Western markets, as well as by the cinematic tradition’s contribution to what James Udden calls a ‘pan-[east-]Asian’ film style (2005: para 5) – inform the fevered perpetuation of predictable shinrei mono eiga (‘ghost films’). Secondly, by examining the emergence of several visually inventive and intellectually sophisticated films by some of Japanese horror cinema’s most accomplished practitioners, this chapter proposes that the creative fires spawned by the explosion of Japanese horror in the 1990s are far from extinguished. As close readings 172 Nightmare Japan of works like Ochiai Masayuki’s Infection (Kansen, 2004), Tsuruta Norio’s Premonition (Yogen, 2004), Shimizu Takashi’s Marebito (2004), and Tsukamoto Shinya’s Vital (2004) variably reveal, the future of Japanese horror cinema may be very bright indeed.
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