Japanese Horror Cinema and Deleuze: Interrogating and Reconceptualizing Dominant Modes of Thought

Description

Using theories of national, transnational and world cinema, and genre theories and psychoanlaysis as the basis of its argument, Japanese Horror Cinema and Deleuze argues that these understandings of Japanese horror films can be extended in new ways through the philosophy of Deleuze. In particular, the complexities and nuances of how films like Ju-On: The Grudge (2002), Audition (1999) and Kairo (2001) (and beyond) form dynamic, transformative global networks between industries, directors and audiences can be considered. Furthermore, understandings of how key horror tropes and motifs apply to these films (and others more broadly), such as the idea of the “monstrous-feminine”, can be transformed, allowing these models to become more flexible. Cover Contents List of Illustrations Acknowledgements Note on Japanese names and terms Introduction: A boom, a crash and a death rattle Chapter summary Part one Theory 1 Theoretical intersections: National, transnational and global flows and the Japanese horror genre National, transnational and world cinema Japanese horror cinema 2 Theoretical transformations: The perspectives of Gilles Deleuze The Deleuzian taxonomy Theoretical transformations: National, transnational and world cinema Transforming thought: The horror genre and psychoanalysis Part two Case studies 3 The ‘any-space-whatever’, ‘becoming-woman’ and Ju-On: The Grudge (2002) Assemblages and any-spaces-whatever Subjective fluidities: Becoming-woman 4 Auteurship, adaptation and the molecularity of Audition (1999) Auteurship and industrial assemblages Audition the novel: Adaptation and transmedia relations Audition the film: Mapping molecularity and drifts 5 Kairo (Pulse) (2001): Cosmicism and ‘becoming-machine’ The living characters The spirits and becoming-machine Conclusion: Reconceptualizations of Japanese horror and beyond Notes Bibliography Filmography Index