List of figures
Acknowledgements
Preface
Introduction
Part One: Theory
1. Theoretical Intersections: The Japanese Horror Genre and
National, Transnational and Global Flows
2. Theoretical Transformations: The Perspectives of Gilles
Deleuze
Part Two: Case-Studies
3. The “Any-Space-Whatever", “Becoming-Woman" and Ju-On: The Grudge
(2002)
4. Auteurship, Adaptation and the Molecularity of Audition
(1999)
5. Kairo (2001): Cosmicism and “Becoming-Machine"
Conclusion
Bibliography
Index
An analysis of Japanese horror films from the 1990s and 2000s using Deleuzian concepts.
Dr. Rachel Elizabeth Barraclough is an associate lecturer within the school of film and media at The University of Lincoln, UK. She received her PhD from the University of Lincoln in 2018. Her research interests lie in the horror genre, East Asian cinema and Deleuzian philosophy.
Japanese Horror Cinema and Deleuze challenges conventional film
analysis by exploring the genre’s affective elements. Clear and
engaging, this work is an important contribution to the discipline
of cinema studies and is a must for students of film and
philosophy.
*Jay McRoy, Professor of English, University of Wisconsin -
Parkside, USA*
This book provides an important intervention into the scholarship
on Japanese horror by avoiding a well-worn hermeneutic approach to
cinematic analysis, examining, instead, the many interconnections
that develop between the bodies of audience members, films, and
nations as cinematic works are created and viewed worldwide. In so
doing, this study brings a fresh perspective to some of the iconic
works of the genre.
*Marc Yamada, Associate Professor, Comparative Arts & Letters,
Brigham Young University, USA*
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