Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4)


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Well, Scarlett, I think the the title says it all. Tokyo Shock Cinema — A Retrospective If you are a horror fan, if you are an Asian film horror fan or if you are an extreme horror fan, you have likely come across one if not more of these wonderfully quirky over-the-top films. The genre has struggled with classifying them as they tend to combine several different influences both Asian …. Though I do enjoy the thrill of weeding thru all the stinkers to find the gems.

For anyone new to these, they present a special brand of fear and dread that is far removed from many Western releases. The film shows the rapid creation, destruction and perseverance of family structures. It happens all the time.

About this book

Look at high school or your …. This could be a plus or minus depending on your perspective.

The focus here though is specifically the directors …. She stops. She has long, shiny black hair and is wearing a beige …. A large chunk of the American film industry is devoted to remakes, adaptations, and sequels. Film Studies For Free loves a good vampire movie , like the two relatively unconventional examples of the genre pictured above.

Table of contents

Both kinds of films are represented below, in a fairly short, but terrifyingly good, list of scholarly and other online studies of the recent flourishing of teen and pre-teen varieties of undead cinema along with their literary sources. Please note that the list does not dabble in studies of the televisual versions of the genre.

For those, you could no better than to visit the complete archive of Slayage articles on, inter alia , Buffy the Vampire Slayer , Angel , and Firefly. Good Bye Lenin!

MacLeod, Jr. The zombies in these films are a kind of revolutionary force of predators without a revolutionary program. Their only concern is to satisfy an instinctual drive for predation; a drive which, as is pointed out in Day of the Dead , serves no actual biological purpose. They appear and attack without explanation or reason, violating taken for granted principles of sufficient cause and rationality.

Because of this, they are especially threatening to the surviving human beings. Enemies such as Nazis or Communists are comprehensible in terms of their historical backgrounds, economic interests, religious, political or philosophic beliefs. But these zombies are a new breed of enemy in that they do not operate according to the same underlying motivations human beings share in common.

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Onryou: The Scary Woman of Japanese Horror – Teacher Paul's English classroom

They are a nihilistic enemy which, as lifeless, spiritless automatons, exemplify the epitome of passive nihilism. They wander the landscape exhibiting only the bare minimum of power that is required for locomotion and the consumption of living flesh. They must steal life from the strong because they possess such a depressed store of innate energy. They are, literally, the walking dead.

Onryou: The Scary Woman of Japanese Horror

Film Studies For Free is quaking in its digital boots as a whole host of freely accessible zombie studies gathers menacingly on the online horizon and shuffles ever nearer…. No, no, no, nooooo…. The only comforting thought is that film zombies also grow old and win the undying loyalty of their fans …. In addition, FSFF has assembled some links below to openly accessible and very high quality scholarship on Japanese cinema including numerous full-length studies , with work by Donald Richie, and many other excellent items which are indebted to his studies of Japanese cinema.

This was quite a broad category to research online, so FSFF will inevitably have missed some good resources: suggestions for any high quality additions are, therefore, even more welcome than usual! Publicity still for The Innocents Jack Clayton , Oh, and there are two related video essays lurking at the bottom to scare the scholarly bejesus out of you for good measure, too added April Michael J. Jekyll and Mr.


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The essays will also form the basis of two talks to be given in the next few weeks: on March 8 at Liverpool John Moores University ; and on March 17 at the University of Sussex details to follow. Then she will examine the issue of film quotation in audiovisual work, as well as, more generally, the possibilities offered to film studies by the rising generation of online digital-video essays about films and film theory.

All articles are in pdf format.

Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4) Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4)
Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4) Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4)
Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4) Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4)
Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4) Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4)
Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4) Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4)
Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4) Nightmare Japan: Contemporary Japanese Horror Cinema (Contemporary Cinema, Volume 4)

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