Relevant bibliographies by topics / Japanese horror cinema

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Japanese horror cinema'

Author: Grafiati
Published: 11 December 2022
Last updated: 31 July 2025

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Journal articles on the topic "Japanese horror cinema"

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Iles, Timothy. "Japanese Horror Cinema (review)." Journal of Japanese Studies 33, no. 1 (2007): 264–68. http://dx.doi.org/10.1353/jjs.2007.0017.

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Wada-Marciano, Mitsuyo. "J-Horror: New Media's Impact on Contemporary Japanese Horror Cinema." Canadian Journal of Film Studies 16, no. 2 (2007): 23–48. http://dx.doi.org/10.3138/cjfs.16.2.23.

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Robinson, Juneko J. "Jay McRoy (2007) Nightmare Japan: Contemporary Japanese Horror Cinema." Film-Philosophy 14, no. 1 (2010): 350–60. http://dx.doi.org/10.3366/film.2010.0018.

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Taylor, Joy. "Nightmare Japan: Contemporary Japanese Horror Cinema by Jay McRoy." Journal of Popular Culture 43, no. 1 (2010): 219–21. http://dx.doi.org/10.1111/j.1540-5931.2010.00737_15.x.

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Richardson, Joshua. "Revolting Youth: Depictions of Young Culture in Japanese Horror Cinema." Film Matters 3, no. 3 (2012): 13–17. http://dx.doi.org/10.1386/fm.3.3.13_1.

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Mubarak, Makbul. "Censorship and Adult Film Stars in Contemporary Indonesian Horror Cinema." ULTIMART Jurnal Komunikasi Visual 9, no. 1 (2018): 38–40. http://dx.doi.org/10.31937/ultimart.v9i1.735.

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There were uproars when film producer Ody Mulya Hidayat initiated to cast adult film stars in his film. It was Sora Aoi, a Japanese porn screen star. These uproars indicated multiple things. Some people are afraid that Aoi will nakedly act in front of Indonesian audiences. However, some others couldn’t wait the release date t0 be announced and buy tickets. All sights are suddenly upon the Indonesian Film Censorship Board, who is responsible to institutionally neutralize all the uproars. The formerly questionable institution is now at a big stake.
 Keywords : film, porn star, censorship
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Crandol, Michael E. "Beauty is the Beast: Suzuki Sumiko and Prewar Japanese Horror Cinema." Journal of Japanese and Korean Cinema 10, no. 1 (2018): 16–31. http://dx.doi.org/10.1080/17564905.2018.1437660.

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Rybalko, S., and A. Ozhoha-Maslovska. "Masks of the Noh theatre in Japanese feature films: types, principles, techniques of use, and meanings." Culture of Ukraine, no. 89 (June 20, 2025): 120–29. https://doi.org/10.31516/2410-5325.089.12.

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The Japanese school of cinema is recognized as one of the most distinctive and influential movements in global audiovisual art. Its expressive visual language and diverse artistic techniques continue to attract the attention of scholars and cinema enthusiasts alike. Among the many cultural influences shaping Japanese cinema, traditional theatrical forms — particularly the Noh theatre have played a significant role. This article explores how the various types of Noh masks and the methods of their use as artistic devices have been integrated into the works of leading Japanese filmmakers. Studyin
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Christopher, David. "Horror and the Cube Films: An unlikely medium for the negotiation of Nationalist-Cultural ideologies." Mutual Images Journal, no. 11 (December 20, 2023): 139–70. http://dx.doi.org/10.32926/2023.11.8.

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Over the past several decades, scholarship has come to recognise the unexpected significance of horror cinema ventures as both culturally and politically relevant. One of Canada’s greatest horror film successes was Vincenzo Natali’s 1997 psychological thriller Cube that metaphorically explores the suffocating nature of vocational social relations under the conditions of a patriarchal military-industrial capitalism. So innovative was its premise that US interests quickly acquired the rights to produce and distribute Cube 2: Hypercube (2002) and Cube Zero (2004), but they were just as quick to r
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Lee, Sung-Ae. "The New Zombie Apocalypse and Social Crisis in South Korean Cinema (translation into Russian)." Corpus Mundi 2, no. 4 (2021): 40–59. http://dx.doi.org/10.46539/cmj.v2i4.53.

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The popular culture version of the zombie, developed over the latter half of the twentieth century, made only sporadic appearances in South Korean film, which may in part be attributed to the restrictions on the distribution of American and Japanese films before 1988. Thus the first zombie film Monstrous Corpse (Goeshi 1980, directed by Gang Beom-Gu), was a loose remake of the Spanish-Italian Non si deve profanare il sonno dei morti (1974). Monstrous Corpse was largely forgotten until given a screening by KBS in 2011. Zombies don’t appear again for a quarter of a century. This article examines
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Dissertations / Theses on the topic "Japanese horror cinema"

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Parrish, Jordan G. "The Undead Subject of Lost Decade Japanese Horror Cinema." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1502193416130062.

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Murphy, Kayleigh F. "(Un)dead Japan: A genre analysis of the Japanese zombie film." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/89741/4/Kayleigh_Murphy_Thesis.pdf.

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This study is an in-depth examination of the stylistic and generic characteristics of the Japanese zombie film and its relations to Japanese horror cinema and the conventions and tropes of Western zombie movies more generally. Through generic analysis of key Japanese zombie films released over the last 15 years, this study establishes the sub-genre's ties to transnational production practices and cult cinema. The first monograph length study of this kind, this study provides insight into the growing sub-genre of Japanese zombie films while concurrently broadening current scholarship and unders
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Petty, John E. "Stage and Scream: The Influence of Traditional Japanese Theater, Culture, and Aesthetics on Japan's Cinema of the Fantastic." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68031/.

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Although widely viewed in the West, Japanese films are often misunderstood, as they are built on cultural, theatrical, and aesthetic traditions entirely foreign to Western audiences. Particularly in regards to Japan's "fantastic" cinema - including giant monster pictures, ghost stories, and "J-Horror" films - what is often perceived as "cheap" or "cheesy" is merely an expression of these unique cultural roots. By observing and exploring such cultural artifacts as kabuki, noh, and bunraku - the traditional theatrical forms of Japan - long-standing literary traditions, deeply embedded philosophi
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Waller, Vanja. "Gender representation through the horrors of Fatal frame (2001) : Textual analysis into female gender representation in the Japanese survival horror game, Fatal Frame (2001)." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20087.

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Gender representation in the horror genre has many interesting discussions surrounding it through multiple perspectives such as psychoanalysis and culture. This article intends to expand the investigation of how female characters are portrayed in horror games. The research on female representation will investigate the potential connections between horror cinema and horror games in the survival horror game Fatal Frame (2001, Koei Tecmo), the first title of a series that is iconic f0r drawing inspiration from Japanese mythology and horror tropes while simultaneously using a large cast of female
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Montaño, Muñoz José A. "La reescritura del cine japonés contemporáneo en la crítica española: observaciones desde los márgenes del polisistema cinematográfico." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/392627.

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Tomando como referencia la teoría de los polisistemas y con la idea de reescritura como concepto central, esta tesis estudia la recepción de la cinematografía japonesa contemporánea en España. Originado en una cultura que es vista como una alteridad, el cine japonés queda relegado a una posición periférica en el discurso crítico hegemónico. Sobre esta cinematografía se maneja un limitado catálogo, en el que son recurrentes algunos aspectos como el concepto de autor; las películas de ambientación histórica; las de terror; y las de animación. También nos hemos ocupado de otros dos aspectos gener
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Sánchez, Lopera Sandra. "Traduciendo la mirada. Sobre la práctica del montaje en los remakes norteamericanos de las películas de terror japonesas contemporáneas." Doctoral thesis, Universitat Ramon Llull, 2016. http://hdl.handle.net/10803/360843.

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El 1998, una petita pel.lícula japonesa va revolucionar el cinema de terror, que en aquell moment es trobaba dominat per la indústria nord-americana. Es tractava de Ringu, un film en el qual el director Hideo Nakata mostrava l’essència de les histories de fantasmes tradicionals del seu país en un entorn urbà contemporani. L’èxit d’aquest títol va obrir les portes a una sèrie de produccions japoneses de terror que es caracterizava per uns trets comuns que les feien reconeixibles. L’absència de violència explícita, la por a les noves tecnologies, presentades com quelcom negatiu, la presència d’u
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Hjelm, Zara Luna. "Mirror, Mirror : Embodying the sexed posthuman body of becoming in Sion Sono’s Antiporno (アンチポルノ, 2016) and Mika Ninagawa’s Helter Skelter (ヘルタースケルター, 2012)". Thesis, Linköpings universitet, Tema Genus, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-177284.

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This thesis examines the embodiment of the sexed body and the struggle of fitting into the narrow frames of what a woman is supposed to behave and look like in Japanese cinema. Using the medium of film, I, therefore, seek to produce knowledge regarding the internalized gaze of the oppressor, and self-objectification, caused by the capitalist heteropatriarchy. Thus, I am drawing from cyborg feminism, and the second wave of sexual difference theory’s concept of becoming, expanded upon by the Italian-Australian philosopher Rosi Braidotti. I further use the French sociologist Pierre Bourdieu’s not
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Books on the topic "Japanese horror cinema"

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Brown, Steven T. Japanese Horror and the Transnational Cinema of Sensations. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70629-0.

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Japanese Horror Cinema. Edinburgh University Press, 2005.

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Japanese horror cinema. University of Hawai'i Press, 2005.

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Japanese Horror Cinema. Edinburgh University Press, 2005.

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Mcroy, Jay. Japanese Horror Cinema. University of Hawaii Press, 2005.

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McRoy, Jay. Japanese Horror Cinema. University of Hawaii Press, 2005.

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Nightmare Japan: Contemporary Japanese Horror Cinema. (Contemporary Cinema). Rodopi, 2007.

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Mcroy, Jay. Nightmare Japan: Contemporary Japanese Horror Cinema. Rodopi B.V. Editions, 2008.

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Brown, Steven T. Japanese Horror and the Transnational Cinema of Sensations. Palgrave Macmillan, 2019.

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Brown, Steven T. Japanese Horror and the Transnational Cinema of Sensations. Palgrave Macmillan, 2018.

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Book chapters on the topic "Japanese horror cinema"

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McRoy, Jay. "Recent Trends in Japanese Horror Cinema." In A Companion to the Horror Film. John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118883648.ch23.

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Brown, Steven T. "Double Trouble: Doppelgängers in Japanese Horror." In Japanese Horror and the Transnational Cinema of Sensations. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70629-0_3.

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Brown, Steven T. "Conclusion: Envelopes of Fear—The Temporality of Japanese Horror." In Japanese Horror and the Transnational Cinema of Sensations. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70629-0_6.

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Brown, Steven T. "Cinema Fou: Surrealist Horror from Face of Another to Gozu." In Japanese Horror and the Transnational Cinema of Sensations. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70629-0_4.

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Brown, Steven T. "In the Wake of Artaud: Cinema of Cruelty in Audition and Oldboy." In Japanese Horror and the Transnational Cinema of Sensations. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70629-0_5.

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Brown, Steven T. "Introduction." In Japanese Horror and the Transnational Cinema of Sensations. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70629-0_1.

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Brown, Steven T. "Ambient Horror: From Sonic Palimpsests to Haptic Sonority in the Cinema of Kurosawa Kiyoshi." In Japanese Horror and the Transnational Cinema of Sensations. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70629-0_2.

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Legassie, Shayne Aaron. "The Gothic Fly." In Burn after Reading: Vol. 1, Miniature Manifestos for a Post/medieval Studies + Vol. 2, The Future We Want: A Collaboration. punctum books, 2014. https://doi.org/10.21983/p3.0067.1.16.

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Gore Verbinski’s 2002 filmThe Ringis a remake of the popular Japanese horror movieRingu (1998), directed by Hideo Nakata. Both films tell the story of a cursed vide-otape whose viewers die gruesome deaths seven days after they watch it. At the level of both plot and visual style, Verbinski’s departures from Ringuare deeply in-debted to the conventions of the gothic novel, especially as they were mediated by European and American cine-ma. This gothic aesthetic “translates” Ringu into a more familiar Hollywood idiom for the benefit of North Ameri-can viewers. Many of The Ring’s gothic innovation
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Bingham, Adam. "Japanese Horror Cinema." In Contemporary Japanese Cinema Since Hana-Bi. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748683734.003.0004.

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Turnock, Bryan. "Asian Horror." In Studying Horror Cinema. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0007.

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This chapter details how the mid-1990s saw a substantial increase in the number of horror films being produced in Asian countries, and in particular Japan and Korea. At the same time, globalisation and the introduction of worldwide distribution channels meant that such films became much more accessible to western audiences, with the surprise success of Hideo Nakata's Ringu (1998) bringing Japanese horror into the mainstream of western cinema. Often used to describe genre films from across Asia, so-called 'J-Horror' is now a recognised sub-genre in the west, with a number of scholarly books ded
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