Titlebook: Japanese Horror and the Transnational Cinema of Sensations; Steven T. Brown Book 2018 The Editor(s) (if applicable) and The Author(s) 2018

预知

Ambient Horror: From Sonic Palimpsests to Haptic Sonority in the Cinema of Kurosawa Kiyoshi,silence, the function of ambient drones and sonic palimpsests, and the status of the acousmatic voice, Brown illuminates how soundscapes contribute to the construction of horror as a space for what he calls “haptic sonority,” an intensive space where one does not so much hear sounds as one feels them in one’s body.

NAVEN

,Double Trouble: Doppelgängers in Japanese Horror,with particular reference to the complex framing techniques employed to help visualize the unstable dynamics between self and double), Brown investigates the figure of the doppelgänger primarily in relation to the J-horror films . (.; dir. Asato Mari, 2013), . (.; dir. Kurosawa Kiyoshi, 2003), and . (dir. Miike Takashi, 2004).

不爱防注射

MIRTH

Book 2018iality and transnational hybridity in relation to world horror cinema. Neither a conventional film history nor a thematic survey of Japanese horror cinema, this study offers a transnational analysis of selected films from new angles that shed light on previously ignored aspects of the genre, includi

BOLUS

Introduction,al aspects. Undertaking a critical reassessment, Brown attends to J-horror’s transnational hybridity in relation to the larger networks of global cultural flows, including major and minor areas of influence, cross-fertilizations, and intermedial intersections with non-Japanese works of art, literatu

agonist

Ambient Horror: From Sonic Palimpsests to Haptic Sonority in the Cinema of Kurosawa Kiyoshi,been done on sound design in Japanese horror, yet it remains one of the most productive means by which J-horror distinguishes itself from other forms of horror. Through advanced spectral and surround field analysis and a careful consideration of elements such as the interrelations between noise and

Anticoagulant

,Double Trouble: Doppelgängers in Japanese Horror,cuses on the role of Japanese horror as a productive cultural medium for doubles—a topic that has received relatively little attention thus far in J-horror scholarship. Analyzed both in terms of its evocations of the uncanny and with respect to the ghostly effects of the cinematic apparatus itself (

Watemelon

integral

In the Wake of Artaud: Cinema of Cruelty in , and ,,s, Brown develops the Artaudian concept of “cinema of cruelty” in relation to two exemplary revenge horror films—the Japanese horror . (.; dir. Miike Takashi, 1999) and the Korean horror . (.; dir. Park Chan-wook, 2003)—each of which offers engagements with graphic violence but situates that violenc

Kidney-Failure

,Conclusion: Envelopes of Fear—The Temporality of Japanese Horror,to consideration the issue of timing understood not only as the duration of individual images and the durational relationships between and among images but also in terms of the concept of temporal envelopes with individual stages of attack, decay, sustain, and release, Brown reconceives how the slow