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"Balmain, Colette"
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Introduction to Japanese horror film
Beginning with Godzilla, Colette Balmain follows the evolution of Japanese horror from the 1950s to contemporary classics such as Ringu and Ju-On: The Grudge. Divided thematically, she identifies the vengeful virgin, the demonic child, the doomed lovers, and the supernatural serial killer, relating them to traditional Japanese mythology and folk-tales. She also unpacks the aesthetics of the Japanese horror film and the uses of setting, lighting, music, and mise-en-scene that make Japanese horror such a visceral experience. She concludes with the impact of Japanese horror on contemporary American cinema, reading remakes of Ringu, Dark Water, and Ju-On: The Grudge.
eBook
East Asian Gothic: a definition
This paper offers a definition of East Asian Gothic cinema in which a shared cultural mythology, based upon cultural proximity and intra-regional homologies, provides a cinematic template of ghosts and ghouls together with a grotesque menagerie of shapeshifting animals, imagined as either deities or demons. East Asian Gothic is an umbrella term which encompasses the cinemas of PRC, Hong Kong, Taiwan, Japan and South Korea, acknowledging the difficult histories and conflicts between the nations, as well as film making practices and industries. This is in opposition to critical work which views East Asian gothic and horror films as extensions of Japanese horror, and therefore J-Horror as a meta-genre; for example David Kalat in J-Horror (2007) and Axelle Carolyn in It Lives Again! Horror Films in the New Millennium (2008), or focus almost solely on the relationship between contemporary Western and East Asian Horror cinema through an analysis of the remake. In order to demonstrate the transnational and regional flows that form East Asian gothic cinema, this paper focuses in on one of the oldest and most enduring gothic figures found in literature and mythology across East Asia, the nine-tailed fox: known as the huli jin in China, gumiho in Korea and kitsune in Japan. While much has been written about the vengeful ghost, little attention has been paid to that of the fox-spirit even though ‘she’ is ubiquitous in East Asian popular culture. On screen, the fox-spirit (also known as the fox fairy) is either represented as a variation of the femme fatale or the sacrificial woman—or indeed both in some cases—creating a parallel between existing gender relation and the gothic imaginary. This paper explores the representation of the fox-spirit in contemporary Chinese cinema, at two ends of the spectrum in terms of budget and ambition, the big budget, CGI spectacular, Painted Skin (Hua Pi; dir. Gordon Chan, China/Hong Kong/Singapore, 2008) and the low-budget, low fi, The Extreme Fox (dir. Wellson Chin, Hong Kong, 2014) in order to map out the multiple border crossings which are constitutive of East Asian Gothic: while Painted Skin is representative of a global, or globalising trend, in East Asian Gothic Cinema, The Extreme Fox can be understood as resistant to globalisation through the emphasis on the local and the regional.
Journal Article
Something Wicked This Way Comes
The papers collected in this volume are expanded from papers given at the 6th Global Conference on Evil and Human Wickedness, which took place in March 2005. The chapters here represent the diversity and interdisciplinary nature of the conference itself covering topics such as historical and theological concepts of evil, media representations of evil, contemporary debates surrounding the Bosnia war and woman perpetrators in Birkenau, and the construction of the Other as evil in the face of the continuing hysteria over AIDS. The range of the papers collected here makes this book essential reading for students of all humanities disciplines.
eBook
Pan-Asian gothic
In their introduction toRogue Flows: Trans-Asian Cultural Traffic, Iwabuchi, Muecke and Thomas suggest that ‘the globalisation of media and popular/consumer culture is still based upon an assumption of unbeatable Western (American) domination, and the arguments are focussed on how the Rest resist, imitate or appropriate the West’ (2004: 9). In these terms manifestations of the gothic within a global marketplace would simply be identifiable through their relationship to Western gothic forms or modes. However a close examination of pan-Asian gothic demonstrates that the relationship between East and West is not one of hierarchal dominance, but one in which the
Book Chapter
The global impact of south korean popular culture
This volume fills a gap in the existing literature and proposes an interdisciplinary and multicultural comparative approach to the impact of Hallyu worldwide.The contributors analyze the spread of South Korean popular products from different perspectives (popular culture, sociology, anthropology, linguistics) and from different geographical.
eBook