DOCSLIB.ORG

The Best Horror Anime Available for Streaming

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Best Horror Anime Available for Streaming SUBSCRIBE (HTTP://SUBSCRIBE.GEEK.COM/?UTM_SOURCE=WEBSITE-SUBSCRIBE-NAV&UTM_MEDIUM=HYPERLINK (https://www.facebook.com/geekdotcom) (https://www.geek.com/) ANIME (HTTPS://WWW.GEEK.COM/CATEGORY/ANIME/) (https://twitter.com/geekdotcom) The Best Horror Anime Available For Streaming BY BRITTANY VINCENT (HTTPS://WWW.GEEK.COM/AUTHOR/BVINCENT/) 10.14.2018 MOLOTOVCUPCAKE (HTTP://WWW.TWITTER.COM/MOLOTOVCUPCAKE) This site may earn affiliate commissions from the links on this page. Terms of use (https://www.ziffdavis.com/terms-of-use#endorsement). It’s that time of year again. It’s October, which means Halloween is right around the corner. There’s no doubt you’re looking to get into the Halloween spirit (https://www.geek.com/tag/halloween/) with some of the best horror anime you can find, but where do you start? There are so many series out there that it can be hard to sift through the cream of the crop. Luckily, we’ve got you covered with a wide selection of some of the best horror series streaming services have to offer, and they’re all up for grabs right now. So grab a bowl of popcorn (with fresh blood to wash it down with), a ghoul or two, and check off each horrific series as you count down the days to the scariest night of the year. Just make sure you turn on all the lights when you’re done with all these terrifying tales. ShikiSUBSCRIBE (HTTP://SUBSCRIBE.GEEK.COM/?UTM_SOURCE=WEBSITE-SUBSCRIBE-NAV&UTM_MEDIUM=HYPERLINK (https://www.facebook.com/geekdotcom) (https://www.geek.com/) (https://twitter.com/geekdotcom) Vampires are always in fashion, and Shiki is a dark, gothic tale with modern sensibilities. But unlike most series that ask you to take pity on the poor little humans being hunted down by a pack of bloodsuckers, Shiki subverts your typical vampire story conventions and flips the script. In this story, you’ll likely find yourself rooting for the undead, as the true monsters in the world of this series aren’t always inhuman, as you’ll soon see while watching the mystery unravel. Plus, if those red eyes don’t terrify you, nothing will. Stream it on: Crunchyroll (http://www.crunchyroll.com/shiki) or Hulu (https://www.hulu.com/shiki) The World YAMIZUKAN SUBSCRIBE (HTTP://SUBSCRIBE.GEEK.COM/?UTM_SOURCE=WEBSITE-SUBSCRIBE-NAV&UTM_MEDIUM=HYPERLINK (https://www.facebook.com/geekdotcom) (https://www.geek.com/) (https://twitter.com/geekdotcom) If you’re into pulpy science fiction, paranormal stories, or even generally bizarre tales, you’ll be drawn like a moth to a flame to The World YAMIZUKAN, quite frankly one of the weirdest anime series out there – if you can truly call it anime. To be fair, it doesn’t share the genre’s typical art style, much like another entry on this list, but that’s what enhances it and gives it the flavor that makes it so unique. From stories about a vehicle that essentially eats people to a woman who disappears in the woods, it should please any horror lover, especially those whose tastes skew closer to the bizarre. Stream it on: Crunchyroll (https://www.crunchyroll.com/the-world-yamizukan) Mushi-shi While technically not a horror series, Mushi-shi still has some of the most unsettling moments in the whole of anime. Following a wanderer who’s cursed with the sight of “ hi” ti i it i i i ibl t th k d it l th ff t f hi “mushi,” or tiny spirits inivisible to the naked eye, it explores the effect of mushi on peopleSUBSCRIBE around (HTTP://SUBSCRIBE.GEEK.COM/?UTM_SOURCE=WEBSITE-SUBSCRIBE-NA the world – mostly negative, of course. Mushi that replaceV&UTM_MEDIUM=HYPERLINK the eyes of an unfortunate young girl, mushi that lead people to their death high in the mountain, and (https://www.facebook.com/geekeven those who just wantdotcom) to play can be found within this episodic adventure. There are (https://www.geek.com/) many genuinely chilling moments to be found within Mushi-shi, and it’s absolutely worth (https://twitter.com/geekdotcom) experiencing. Stream it on: Crunchyroll (https://www.crunchyroll.com/mushi-shi) Yamishibai: Japanese Ghost Stories If you don’t have much time on your hands, or just want something short and sweet when it comes to horror, you owe it to yourself to check out Yamishibai: Japanese Ghost Stories. It’s a delicious buffet of five-minuted animated motion comics with a dreamlike quality to each of them. Some are a bit unsettling, while the rest are absolutely nightmarish. They don’t take long to digest, which is good, because you may end up too freaked out to do much after taking one in. They give even the longer episodes on this very list a run for their money. Stream it on: Crunchyroll (http://www.crunchyroll.com/yamishibai-japanese- ghost-stories) Junji Ito Collection SUBSCRIBE (HTTP://SUBSCRIBE.GEEK.COM/?UTM_SOURCE=WEBSITE-SUBSCRIBE-NAV&UTM_MEDIUM=HYPERLINK (https://www.facebook.com/geekdotcom) (https://www.geek.com/) (https://twitter.com/geekdotcom) Master horror artist Junji Ito’s stories come to life in this anthology series of tales based around some of his most famous works. Even some of his deep cuts get some love in this creepy collection. You’ll see just a bit of everything in this series, whether it’s a cursed town where everyone wears masked, a chilling old woman who tries every night to get into a young man’s bedroom, or the beautiful yet demonic Tomie, it’s all here. If you’re a fan of Ito’s works, you owe it to yourself to see his black-and-white manga in action. New to Japanese horror in general? Watch the master at work. Stream it on: Crunchyroll (https://www.crunchyroll.com/junji-ito-collection) When They Cry (Higurashi) SUBSCRIBE (HTTP://SUBSCRIBE.GEEK.COM/?UTM_SOURCE=WEBSITE-SUBSCRIBE-NAV&UTM_MEDIUM=HYPERLINK (https://www.facebook.com/geekdotcom) (https://www.geek.com/) (https://twitter.com/geekdotcom) The adorable girls of When They Cry may look innocent, but they’re anything but. This horror classic revolves around several intriguing plot threads that may not initially make sense, but begin to layer together, one on top of the other, until the brilliant plot that is Higurashi (the series’ Japanese title) comes together. A cursed town and its inhabitants meet with untimely deaths as one supernatural being is blamed – but the truth is far worse, and far stranger than that. The “Higurashi face,” like the one above, is one you’ll be seeing a lot of in the series, as well as plenty of twisted torture, murder, and abominable happenings. In a word, it’s excellent. Stream it on: Hulu (https://www.hulu.com/series/when-they-cry-9195dd12-736f- 477d-8fe2-a28977d73c34) Parasyte: The Maxim The world of Parasyte: The Maxim is full of some of the best body horror anime has to offer, period. After an alien race infiltrates humanity by posing as them, protagonist Shinichi Izumi loses his hand to one of the parasitic shapeshifters who’s content only Shinichi Izumi loses his hand to one of the parasitic shapeshifters, whos content only withSUBSCRIBE taking (HTTP://SUBSCRIBE.GEEK.COM/?UTM_SOURCE=WEBSITE-SUBSCRIBE-NA up residence there while fighting off additional parasitic V&UTM_MEDIUM=HYPERLINKbeings around them. The worst part? No one really knows this is going on in the world save for the (https://www.facebook.com/geekhumans caught up indot thecom) struggle. Ever wanted to see a human face open up to engulf another human’s? Well, you’re going(https://www.geek.com/) to see it now. (https://twitter.com/geekdotcom) Stream it on: Crunchyroll (http://www.crunchyroll.com/parasyte-the-maxim-) and Hulu (https://www.hulu.com/parasyte-the-maxim) Another Another, as you may have already heard, feels much more like a Western horror movie than many of the other horror series on this list. As such, it’s a great gateway drug into terrifying Japanese tales. It’s still not for the faint of heart though, as it follows a series of bizarre deaths surrounding a mysterious set of students. One transfer student is tasked with figuring out why the students around him are dying off, one by one, and why one particular girl wearing an eyepatch seems to be the only one who can see the ghosts swirling around in the world near them. Stream it on: Crunchyroll (http://www.crunchyroll.com/another) Elfen Lied SUBSCRIBE (HTTP://SUBSCRIBE.GEEK.COM/?UTM_SOURCE=WEBSITE-SUBSCRIBE-NAV&UTM_MEDIUM=HYPERLINK (https://www.facebook.com/geekdotcom) (https://www.geek.com/) (https://twitter.com/geekdotcom) Elfen Lied is simultaneously terrifying and heartbreaking, following a series of experiments performed on the Diclonius, a mutated human born with telekinetic powers, horns, and a penchant for being misunderstood. Her dual personality doesn’t do humanity any favors, either. This bloody odyssey is certainly not for the faint of heart, but its heartrending tale will leave you gasping for breath by the time it finally lets up, if you aren’t crying buckets by the time you get there, anyway. Stream it on: Hulu (https://www.hulu.com/watch/519647) Mononoke SUBSCRIBE (HTTP://SUBSCRIBE.GEEK.COM/?UTM_SOURCE=WEBSITE-SUBSCRIBE-NAV&UTM_MEDIUM=HYPERLINK (https://www.facebook.com/geekdotcom) (https://www.geek.com/) (https://twitter.com/geekdotcom) If Mononoke’s distinct visual style doesn’t unsettle you at a glance, it certainly should. While evocative at a glance of traditional Japanese artwork and the Edo period, it hides some truly spooky story arcs that follow a character known as the Medicine Seller. Much like the series Mushi-shi, this visually arresting series follows the protagonist as he deals with strange spirits, though in this series they’re known as mononoke.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Screams on Screens: Paradigms of Horror
    Screams on Screens: Paradigms of Horror Barry Keith Grant Brock University [email protected] Abstract This paper offers a broad historical overview of the ideology and cultural roots of horror films. The genre of horror has been an important part of film history from the beginning and has never fallen from public popularity. It has also been a staple category of multiple national cinemas, and benefits from a most extensive network of extra-cinematic institutions. Horror movies aim to rudely move us out of our complacency in the quotidian world, by way of negative emotions such as horror, fear, suspense, terror, and disgust. To do so, horror addresses fears that are both universally taboo and that also respond to historically and culturally specific anxieties. The ideology of horror has shifted historically according to contemporaneous cultural anxieties, including the fear of repressed animal desires, sexual difference, nuclear warfare and mass annihilation, lurking madness and violence hiding underneath the quotidian, and bodily decay. But whatever the particular fears exploited by particular horror films, they provide viewers with vicarious but controlled thrills, and thus offer a release, a catharsis, of our collective and individual fears. Author Keywords Genre; taboo; ideology; mythology. Introduction Insofar as both film and videogames are visual forms that unfold in time, there is no question that the latter take their primary inspiration from the former. In what follows, I will focus on horror films rather than games, with the aim of introducing video game scholars and gamers to the rich history of the genre in the cinema. I will touch on several issues central to horror and, I hope, will suggest some connections to videogames as well as hints for further reflection on some of their points of convergence.
    [Show full text]
  • Bamcinématek Presents Ghosts and Monsters: Postwar Japanese Horror, Oct 26—Nov 1 Highlighting 10 Tales of Rampaging Beasts and Supernatural Terror
    BAMcinématek presents Ghosts and Monsters: Postwar Japanese Horror, Oct 26—Nov 1 Highlighting 10 tales of rampaging beasts and supernatural terror September 21, 2018/Brooklyn, NY—From Friday, October 26 through Thursday, November 1 BAMcinématek presents Ghosts and Monsters: Postwar Japanese Horror, a series of 10 films showcasing two strands of Japanese horror films that developed after World War II: kaiju monster movies and beautifully stylized ghost stories from Japanese folklore. The series includes three classic kaiju films by director Ishirô Honda, beginning with the granddaddy of all nuclear warfare anxiety films, the original Godzilla (1954—Oct 26). The kaiju creature features continue with Mothra (1961—Oct 27), a psychedelic tale of a gigantic prehistoric and long dormant moth larvae that is inadvertently awakened by island explorers seeking to exploit the irradiated island’s resources and native population. Destroy All Monsters (1968—Nov 1) is the all-star edition of kaiju films, bringing together Godzilla, Rodan, Mothra, and King Ghidorah, as the giants stomp across the globe ending with an epic battle at Mt. Fuji. Also featured in Ghosts and Monsters is Hajime Satô’s Goke, Body Snatcher from Hell (1968—Oct 27), an apocalyptic blend of sci-fi grotesquerie and Vietnam-era social commentary in which one disaster after another befalls the film’s characters. First, they survive a plane crash only to then be attacked by blob-like alien creatures that leave the survivors thirsty for blood. In Nobuo Nakagawa’s Jigoku (1960—Oct 28) a man is sent to the bowels of hell after fleeing the scene of a hit-and-run that kills a yakuza.
    [Show full text]
  • The Evolution of Japanese Horror Marketing
    From Scary to Scary-Cute -The Evolution of Title Japanese Horror Marketing- Author(s) ネルソン,リンジー Citation 明治大学教養論集, 531: 91-116 URL http://hdl.handle.net/10291/19246 Rights Issue Date 2017-12-31 Text version publisher Type Departmental Bulletin Paper DOI https://m-repo.lib.meiji.ac.jp/ Meiji University 明治大学教養論集通巻531 号 (2017• 12) pp. 91-116 From Scary to Scary-Cute: The Evolution of Japanese Horror Marketing NELSON Lindsay Introduction In In the early 2000s I remember seeing a clip from the popular TV Asahi program Matthew's Best Hit TV, the variety show that ran from 2001 2001 to 2006 and featured comedian Takashi Fujii as the blond-haired, buck-toothed buck-toothed "Matthew Minami." The segment focused on "things you can't can't watch" and featured the host and two guests being forced to watch a scene from Ringu 2, the sequel to Hideo Nakata's well-known horror horror film Ringu.1 As the clip from the film played in the lower right- hand corner of the screen (keeping with the Japanese TV tradition of having the audience watch the hosts watch things), "Matthew" and his guests guests covered their eyes, occasionally peeking out from behind them to to utter a shriek of terror. The audience, of course, played along, shriek- ing ing when the film cut to the lifeless face of Sadako staring up at one of the the characters as she tried to climb out of a well. Everything was played up for the cameras, but the terror felt genuine. Almost fifteen years later, I was in Tokyo at the height of the much more aggressive and widespread marketing campaign for the latest film in in the Ringu and Ju-on franchises, Sadako vs.
    [Show full text]
  • The Undead Subject of Lost Decade Japanese Horror Cinema a Thesis
    The Undead Subject of Lost Decade Japanese Horror Cinema A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Jordan G. Parrish August 2017 © 2017 Jordan G. Parrish. All Rights Reserved. 2 This thesis titled The Undead Subject of Lost Decade Japanese Horror Cinema by JORDAN G. PARRISH has been approved for the Film Division and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Studies Matthew R. Shaftel Dean, College of Fine Arts 3 Abstract PARRISH, JORDAN G., M.A., August 2017, Film Studies The Undead Subject of Lost Decade Japanese Horror Cinema Director of Thesis: Ofer Eliaz This thesis argues that Japanese Horror films released around the turn of the twenty- first century define a new mode of subjectivity: “undead subjectivity.” Exploring the implications of this concept, this study locates the undead subject’s origins within a Japanese recession, decimated social conditions, and a period outside of historical progression known as the “Lost Decade.” It suggests that the form and content of “J- Horror” films reveal a problematic visual structure haunting the nation in relation to the gaze of a structural father figure. In doing so, this thesis purports that these films interrogate psychoanalytic concepts such as the gaze, the big Other, and the death drive. This study posits themes, philosophies, and formal elements within J-Horror films that place the undead subject within a worldly depiction of the afterlife, the films repeatedly ending on an image of an emptied-out Japan invisible to the big Other’s gaze.
    [Show full text]
  • J-Horror and the Ring Cycle
    Media students/03/c 3/2/06 8:16 am Page 94 CASECASE STUDY:STUDY: J-HORROR J-HORROR AND AND THE THE RING RINGCYCLECYCLE 1 2 3 4 5 6 7 • Horror cycles • Industry exploitation and circulation 8 • The beginnings of the Ring cycle • Fandom and the global concept of genre 9 • Replenishing the repertoire through repetition and • Summary: generic elements and classification 10 difference • References and further reading 11 • Building on the cycle 12 13 14 Horror cycles references to Carol Clover’s work in Chapter 3). The 15 ‘knowingness’ about horror, and cinema generally, 16 Chapter 3 emphasises the fluidity of genre as a in these films was often developed as comedy (e.g. in 17 concept, the constantly changing repertoires of Scream 2 (1998), the classroom discussion about film 18 elements and the possibility of different forms of sequels). The success of the cycle was exploited 19 ‘classification’ by producers, critics and audiences. further with a ‘spoof’ of the ‘spoof’ in the Scary Movie 20 Horror is a genre with some special characteristics series. 21 in cinema: At the end of the decade, a rather different kind of 22 consistently popular since the 1930s in Hollywood • film, a ‘ghost story with a twist’, The Sixth Sense (1999), 23 and earlier in some other national cinemas was a massive worldwide hit. It was followed by the 24 attracting predominantly youth audiences • Spanish film The Others (2001) and several other ghost 25 until the late 1960s, not given the status of a major • stories, some of which looked back to gothic traditions 26 studio release (the isolated country house shrouded in fog in The 27 ‘open’ to the influence of changes in society – in • Others), while others were more contemporary in 28 both ‘metaphorical’ (i.e.
    [Show full text]
  • Geek Culture Engagement Scale (GCES)
    Geek Culture Engagement Scale (GCES) For each of the following, please indicate to what extent you engage in this activity. Note: Bolded items were retained for the final scale and used in studies 3 through 7. Non-bolded items were only used in study 1, samples A and B and were removed during factor analysis. LARPING (Live Action Role Playing Games) Not at all 1 2 3 4 5 A Lot Table Top Role Playing Games (e.g., Dungeons and Dragons, World of Darkness, GURPS) Not at all 1 2 3 4 5 A Lot Computer/Console gaming (World of Warcraft, Half-Life, Minecraft etc.) Not at all 1 2 3 4 5 A Lot Cosplaying (making and wearing costumes of Anime characters, superheroes, etc.) Not at all 1 2 3 4 5 A Lot Posting in internet forums (4chan, tumblr, reddit, etc.) Not at all 1 2 3 4 5 A Lot Attending Conventions (Comicon, Dragon Con, etc.) Not at all 1 2 3 4 5 A Lot Attending Renaissance Fairs Not at all 1 2 3 4 5 A Lot The Society for Creative Anachronism (SCA) and other historical reenactments Not at all 1 2 3 4 5 A Lot Weapons Collecting Not at all 1 2 3 4 5 A Lot Paranormal Investigation (Ghost Hunting, Psychic Phenomena, reading about the paranormal etc.) Not at all 1 2 3 4 5 A Lot Puppetry (making and performing with puppets, muppets, etc.) Not at all 1 2 3 4 5 A Lot Robotics (making, using, learning about robots) Not at all 1 2 3 4 5 A Lot Theater (acting, costuming, building sets, etc.) Not at all 1 2 3 4 5 A Lot Creative Writing (fiction, poetry, etc.) Not at all 1 2 3 4 5 A Lot Social Networking (Facebook, Myspace, etc.) Not at all 1 2 3 4 5 A Lot
    [Show full text]
  • Open Final Version of Thesis.Pdf
    The Pennsylvania State University The Graduate School College of Communications HORROR GLOBAL, HORROR LOCAL: A CROSS-CULTURAL ANALYSIS OF TORTURE PORN, J-HORROR, AND GIALLO AS CONTEMPORARY MANIFESTATIONS OF THE HORROR GENRE A Thesis in Media Studies by Lauren J. DeCarvalho © 2009 Lauren J. DeCarvalho Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts August 2009 ii The thesis of Lauren J. DeCarvalho was reviewed and approved* by the following: John S. Nichols Professor of Communications Associate Dean for Graduate Studies and Research Matthew F. Jordan Assistant Professor of Media Studies Thesis Advisor Marie C. Hardin Associate Professor of Journalism Jeanne L. Hall Associate Professor of Film and Video *Signatures are on file in the Graduate School. iii ABSTRACT The overbearing effects of Hollywood continue to blur the lines of distinction between national and global cinema, leaving scholars to wonder whether the latter type of cinema has since trumped the former. This thesis explores the depths of this perplexity by looking at the cultural differences in post-1990s horror films from three countries: the United States, Japan, and Italy. Scholarship on women in horror films continues to focus on the feminist sensitivities, without the slightest regard for possible cultural specificities, within the horror genre. This, in turn, often collapses the study of women in horror films into a transnational genre, thereby contributing to the perception of a dominant global cinema. Therefore, it is the aim of the author to look at three culturally-specific subgenres of the horror film to explore their differences and similarities.
    [Show full text]
  • Japanese Cyberpunk-Body Horror and Cinema As Catharsis in the Age of Technology
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 7-2020 New Flesh Cinema: Japanese Cyberpunk-Body Horror and Cinema as Catharsis in the Age of Technology Sarah Henry University of Arkansas, Fayetteville Follow this and additional works at: https://scholarworks.uark.edu/etd Part of the Critical and Cultural Studies Commons, Politics and Social Change Commons, Social Psychology and Interaction Commons, Sociology of Culture Commons, and the Visual Studies Commons Citation Henry, S. (2020). New Flesh Cinema: Japanese Cyberpunk-Body Horror and Cinema as Catharsis in the Age of Technology. Theses and Dissertations Retrieved from https://scholarworks.uark.edu/etd/3805 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected]. New Flesh Cinema: Japanese Cyberpunk-Body Horror and Cinema as Catharsis in the Age of Technology A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Communication by Sarah Henry University of Arkansas Bachelor of Arts in Communication, 2017 July 2020 University of Arkansas This thesis is approved for recommendation to the Graduate Council. _________________________ Russell Sharman, Ph.D. Thesis Director _________________________ _________________________ Ryan Neville-Shepard, Ph.D. Frank Scheide, Ph.D. Committee Member Committee Member Abstract This thesis provides a critical analysis of a specific group of films that combine the subgenres of cyberpunk and body horror which I call New Flesh Cinema. Films of this subgenre counter fears and anxieties of technological advancements by re-imagining the rise of technology and its societal effects as a transitional process through the illustration of literal and visceral depictions of the necessary alterations people will have to undergo in order to transition successfully into the new world.
    [Show full text]
  • B-Movie Gothic International Perspectives Edited by Justin D
    Traditions in World Cinema General Editors: Linda Badley and R. Barton Palmer Founding Editor: Steven Jay Schneider JOHAN HÖGLUND JUSTIN D. EDITED BY This series introduces diverse and fascinating movements in world cinema. Each volume concentrates on a set of films from a different national, regional or, in some cases, cross-cultural cinema which constitute a particular tradition. EDWARDS AND EDWARDS B-MOVIE GOTHIC International Perspectives EDITED BY JUSTIN D. EDWARDS AND JOHAN HÖGLUND ‘This book takes head-on the complex question of the relationship between Gothic as a Western-origin art form and the rise of indigenous film of the supernatural and the eerie B-MOVIE GOTHIC across cultures and continents. Its focus on the B-movie is adeptly handled by a variety of distinguished critics, raising important questions about internationalisation and local International Perspectives development. There are many dark gems revealed here, and expertly and engagingly discussed.’ GOTHIC B-MOVIE David Punter, University of Bristol EDITED BY JUSTIN D. EDWARDS AND JOHAN HÖGLUND I Following the Second World War, low-budget B-movies that explored and exploited Gothic nternational Perspectives narratives and aesthetics became a significant cinematic expression of social and cultural anxieties. Influencing new trends in European, Asian and African filmmaking, these films carried on the tradition established by the Gothic novel, and yet they remain part of a largely neglected subject. B-Movie Gothic: International Perspectives examines the influence of Gothic B-movies on the cinematic traditions of the United States, Britain, Scandinavia, Spain, Turkey, Japan, Hong Kong and India, highlighting their transgressive, transnational and provocative nature.
    [Show full text]
  • Techno-Horror in Hollywood: Japanese Anxieties, American Style
    A CONTINUING SURVEY OF TECHNOLOGY AND SOCIETY Techno-Horror in Hollywood Japanese Anxieties, American Style he recent stream of Hollywood ible communication networks that now adaptations of Asian horror weave round the planet. An announcer Tfilms shows no sign of dry- declares that we “can now be on the ing up. The Grudge 2 was released this Internet anywhere in the world,” and October, and Tom Cruise is report- a shot of spreading cell-phone net- edly set to produce a remake of a fearful works is eerily reminiscent of a shot Hong Kong/Thai flick about a corneal in Outbreak, the Dustin Hoffman film transplant gone awry, Gin Gwai (The about the potential spread of an Ebola- Eye). Especially interesting is the recent like infection. The implication is clear: focus of Japanese horror films and their like any other contagion, the virus- American remakes on the perils of like spread of information technology ubiquitous modern technology—cell could prove to be an extremely dan- phones, computers, handheld devices. gerous threat. Pulse, released in summer 2006 (and The title dissolves into a modern on DVD this December), is the latest in college campus where Josh (Jonathan the “J-Horror” genre. Written by Wes Tucker) is chased by some unknown, Craven (A Nightmare on Elm Street) but obviously evil, figure, and must and Ray Wright, the fright-fest is an push through a throng of obliviously adaptation of the 2001 Japanese film contented young adults—all of them Kairo. In the title sequence, images and using some sort of wireless device.
    [Show full text]
  • Norwescon 34 ‐ Thursday
    Norwescon 34 ‐ Thursday Scheduled Gaming 1 pm - 1 am Cascade 11&12 Come and see what we’re playing and sign up for a game or two! Moderator: Kathi Pickett Thursday Movie Matinee “The Last Unicorn” 1 pm - 2:30 pm Olympic 1 A brave unicorn and a magician fight an evil king who is obsessed with attempting to capture the world's unicorns. Moderator: LouAnna Valentine Open Gaming 1 pm - 6 am Rotunda 1&2 Tables for convention members to sit down with old (or new) friends and play. No sign-up sheet required. Moderator: Pro Roy SMACdown Arcade 1 pm - 1 am 7110 Retro video game arcade hosted by SMACdown, a local club that collects video games. Moderator: Todd Clark Baby Lounge and Quiet Hour 2:30 pm Olympic 1 Unmonitored room for parents and infants Magnificent Mosaics 3:30 pm Olympic 1 “Paint” stained-glass-like pictures with a variety of colored tissue paper, beads and other materials. Moderator: Kim Poua Thursday Afternoon Poetry for People Who Don't Do Poetry 4 pm Cascade 7 Participatory poetry session Moderator: Mike Brennan Panelist: Mickey “Meowse” Phoenix Making Your Futuristic Costume Truly Futuristic. 4 pm Cascade 8 Let’s see if we can group design a really realistic future look. Moderator: Janet Borkowski Panelists: Cherie Lovell, Garth Stubbs, Richard Stephens Gaming File 13 4 pm Cascade 9 The best ideas you haven't been able to use. Moderator: Eric Cagle Panelists: Dustin J Gross, Randall N. Bills Activism Through SF/Fantasy Writing and Art 4 pm Cascade 13 Can art change the world? Moderator: Larry Lewis Panelists: Anina Bennett, Leigh Kellogg, Paul Guinan Norwescon Dance Academy 4 - 6 pm Maxi's Ballroom Learn the steps to the favorite songs of fandom.
    [Show full text]