Introduction to Japanese Horror Film

by Colette Balmain

This book is a major historical and cultural overview of an increasingly popular genre. Starting with the cultural phenomenon of Godzilla, it explores the evolution of Japanese horror from the 1950s through to contemporary classics of Japanese horror cinema such as Ringu and The Grudge. Divided thematically, the book explores key motifs such as the vengeful virgin, the demonic child, the doomed lovers and the supernatural serial killer, situating them within traditional Japanese mythology and folk-tales. The book also considers the aesthetics of the Japanese horror film, and the mechanisms through which horror is expressed at a visceral level through the use of setting, lighting, music and mise-en-scene. It concludes by considering the impact of Japanese horror on contemporary American cinema by examining the remakes of Ringu, Dark Water and The Grudge.The emphasis is on accessibility, and whilst the book is primarily marketed towards film and media students, it will also be of interest to anyone interested in Japanese horror film, cultural mythology and folk-tales, cinematic aesthetics and film theory.Key classics of Japanese horror film such as Pitfall, Tales of Ugetsu, Kwaidan, Onibaba, Hellish Love and Empire of Desire alongside less well-known cult films such as Pulse, St John’s Wort, Infection and Living A Japanese Chainsaw Massacre.*Includes analysis of the relationship between cultural mythology and the horror film.*Explores the evolution of the erotic ghost story in the 1960s and 1970s.*Examines the contemporary relationship between Japanese horror film and American horror.*Contains 9 B&W film stills.

Genres: Film, Nonfiction, Japan, Horror, Pop Culture, Academic

232 pages, Paperback

First published January 1, 2008

Reviews

[Bogdan Ristic]

A very mediocre introduction. Somewhat strange choice of movies with some obvious omissions. It's pretty clear that the author is more familiar with some topics than others, certain chapters provide a solid analysis of the movies, but other chapters feel like a bunch of synopses loosely connected by a common theme that's barely explored. There are probably better options out there.

[Travis Wagner · Rating 2 out of 5]

My least favorite thing in film studies is where a scholar is the first to publish a text on a subgenre and that text amounts to being a series of extended plot descriptions with a very broad thesis about themes for the genre. Alas, this is such an offering.

[Jon · Rating 3 out of 5]

The information is very useful, decently establishing a history and context in which to examine and understand the genre and its conventions. The filmography is a helpful guide to delving further than the clutch of titles popular in America. However, good luck finding a way to see several of these.

Where the book stumbles hardest is the writing and organization. It’s almost stubbornly, obtusely dull, smothered in passive voice, needless repetition, soft assertions (“you could interpret it this way...”), and mediocre use of voice tags. Topics sometimes jump or veer unexpectedly and without solid connections. Who exactly the audience for this intro text is likewise becomes unclear as we move from clarifying basic terms and concepts to rather heady academic discourse.

Sections of this are very helpful and good, but I don’t see myself ever assigning this book to an undergrad class. Nor is it accessible enough for a more popular lay audience.

It’s a frustrating book with plenty to offer, while bogged down in academic writing crimes that Freshman writing courses across the country are trying to correct. If you like the subject, you should probably read it. Something will be helpful. But you may, like me, also be lamenting what the book could have been with some rigorous editing and further drafting.

[Celluloid Doll]

Too broad by half which is a problem with these comprehensive, introductory monographs. I think it's slavish dedication to mediocre textual analysis dosen't help matter, as rather than revealing any interesting broader cultural trends it dedicates far too much time to plot summaries and rather bare bone formal critique. This felt especially jarring in regard to Suicide Club where the author seemed rather strangely take the text at its word, when it's clearly attempting atleast a partial farce in relation to it's own horror. The character of Genesis especially seems to exist as pure simulcra, devoid of actual signification but Balmain seems to simply accept the words coming out of their mouth as the thesis of the film. That said, there is a lot of good historical context contained within even if I find it a little too reliant on appeals to Japan's fuedal past when discussing ostensibly Modern texts.

[Pandora · Rating 3 out of 5]

Considering how interesting the subject is, this is very dry and is missing not just some iconic movies (eg, House, Tetsuyo:Iron Man, Guinea Pig series) but important media culture/aspects - like the influence of anime and manga, just for a start.

[María · Rating 4 out of 5]

3.5/5, useful

[Diletta · Rating 4 out of 5]

Da Onibaba a Sadako, volevo cercare un'informazione e me lo sono letto tutto quindi ok.

[Mfaiella2 · Rating 3 out of 5]

Good information and accomplishes its goal: to be an introduction. Too academic for my taste, though, focusing on major themes in relation to others' work and a few select titles.

[Greg Talbot · Rating 4 out of 5]

The tv is on, its' glowing blue, there's murky water spreading not far away and the vengeful spirit of your grandmother lurks because of the improper burial rites. If any of this rings as as chilling, welcome to the terrifying world of J-pop. From nuclear fallout to suicide circles, the fears from the modern world has had an indelible mark in society. Some of these have translated successfully to Western audiences such as "Ringu" and "Audition". Balmain's book is evocative and edifies with effective language. He demonstrates mastery of the knowledgebase with No/Kabuki theater and it's translation to cinema. Cheers to an informative book on the fascinately dark branch we know as J-horror.