By Valerie Wee
The Ring (2002)―Hollywood’s remake of the japanese cult luck Ringu (1998)―marked the start of an important pattern within the past due Nineties and early 2000s of yank variations of Asian horror movies. This publication explores this complicated means of model, paying specific cognizance to some of the variations that happen whilst texts move cultural barriers. via shut readings of a number eastern horror movies and their Hollywood remakes, this examine addresses the social, cultural, aesthetic and popular positive factors of every nationwide cinema’s method of and illustration of horror, in the subgenre of the ghost tale, tracing convergences and divergences within the movies’ narrative trajectories, aesthetic variety, thematic concentration and ideological content material. In evaluating modern eastern horror motion pictures with their American variations, this publication advances latest reviews of either the japanese and American cinematic traditions, by:
- illustrating the ways that every one culture responds to advancements in its social, cultural and ideological milieu; and,
- examining eastern horror motion pictures and their American remakes via a lens that highlights cross-cultural trade and bilateral influence.
The publication may be of curiosity to students of movie, media, and cultural studies.
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Extra resources for Japanese Horror Films and their American Remakes
One concern centered Introduction 17 on a perceived shift in gender roles and behaviors that hinted at the declining influence of traditional patriarchal values. Conservative public discourses lamented the consequential collapse in traditional familial units and increasing familial dysfunction, linking these developments to a range of social problems, including teenage prostitution; the rise of makeinu (literally “losing dog”), a term that refers to young Japanese women who choose to reject the traditional, prescribed gender roles and responsibilities that come with marriage and motherhood (Curtin, “Marriage”); “parasite singles,” teenagers and adults who continue to live with their parents well after they should have become independent individuals on their own (Curtin, “Parasite”); and hikikomori, or “shut ins,” which refers to individuals who decide to withdraw from all society and instead choose to confine themselves to their homes, or in many cases a single room, for an extended, indefinite period (Rees; Tipton 211–16).
Often, scholarly interest 22 Japanese Horror Films and Their American Remakes in exploring the relationship between Hollywood and other national cinemas tends to adopt a view of Hollywood/the West dominating and “Othering” the East. It is worth noting, as Balmain does, that a notable proportion of Western perspectives on Japanese culture and film has a tendency to adopt an Orientalist view of Japanese culture, depicting it as Other, as inherently exotic in nature, form, and practice ( Japanese Horror 3).
4 This gothic horror tradition paved the way for the emergence of some of the most influential and enduring representatives of horror literature in the nineteenth century: Mary Wollstonecraft Shelley’s Frankenstein, or The Modern Prometheus (1818), Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde (1886), and Bram Stoker’s Dracula (1897). Although these three classic gothic tales revolved around unnatural monsters, other gothic tales featured “the ghost [as] the gothic threat par excellence—the restless spirit of a victim or villain from long ago” (Worland 28).