<p>Japanese horror film has since the late 1990: ies been extremely successful. The success could probably, at least partly, be due to the Japanese narrative style (which in my own opinion is quite suitable and effective in horror films). In what way does the Japanese narrative tradition work in matter of expression? My results point towards a narrative discrepancy between J-horror and American horror film, possibly due to the Japanese narrative tradition – a narrative tradition under the influence of various forms of ancient Japanese theatre and general Japanese culture.</p>

Japanese horror film has since the late 1990: ies been extremely successful. The success could probably, at least partly, be due to the Japanese narrative style (which in my own opinion is quite suitable and effective in horror films). In what way does the Japanese narrative tradition work in matter of expression? My results point towards a narrative discrepancy between J-horror and American horror film, possibly due to the Japanese narrative tradition – a narrative tradition under the influence of various forms of ancient Japanese theatre and general Japanese culture.

Made available in DSpace on 2015-05-07T14:46:45Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 3360568 bytes, checksum: 1c01f6b8c73ab099752603932d52c725 (MD5) Previous issue date: 2014-02-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Since the release of the film Ringu, in 1998, the Japanese contemporary horror cinema, or J Horror, became a filmic addressing form for the West. These Japanese horror movies have created a way of production that was soon "discovered" and exported by Hollywood through remakes for international audiences. The fact that the production of a remake will present differences between the original film and the new version is clear and doubtless. When these horror films are analysed as entertainment, it is possible to study much more than just filmic differences presented by cultural aspects. We developed our analysis in the perspective that there are reframings in the remakes of the movies as this means part of a productive logic way of the film industry as entertainment. In addition to the comparisons between Ringu and its American remake, The Ring, this research aims to develop the elements of production, distribution and exhibition as these three topics answer the aspects of the cinema as an industry. Through this triad, besides the cultural environment, it may be possible, for example, to find answers to suggest the changes we can notice in the remakes due to get an extension of an international audience as the original movie is usually released only in Japan. / Formatado a partir do lançamento do filme Ringu, de 1998, o horror japonês contemporâneo, ou J Horror, tornou-se uma forma de endereçamento fílmica para o Ocidente. As obras japonesas geraram um modelo de produção de sentido logo descoberto e exportado por Hollywood com refilmagens para um público internacional. Que a produção de um remake gera diferenças entre o filme original e a refilmagem, não há dúvidas. Mas, ao analisar o cinema de terror como entretenimento, é possível perceber muito mais do que apenas diferenças fílmicas em função de aspectos culturais. Trabalhamos nossa análise na perspectiva de que há reenquadramentos temáticos nas refilmagens de obras uma vez que as mesmas fazem parte de uma lógica produtiva da indústria do cinema como entretenimento. Além das comparações entre Ringu e sua refilmagem norte-americana, O Chamado, esta pesquisa pretende se debruçar, em particular, nos aspectos extratextuais do cinema como entretenimento em cada nação, o que faz necessário debater elementos de produção, distribuição e exibição. Por meio desta tríade, além do entorno cultural, talvez seja possível, por exemplo, compreender as mudanças feitas nas refilmagens em função de obter um alargamento de um público internacional ao qual o remake é destinado em comparação com o produto original, que costuma ser exibido apenas no Japão.

No description available.

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 philosophical beliefs, and even more recent developments such as the controversial dance form butoh, these films, including Gojira (1954), Daimajin (1966), Kwaidan (1964), Onibaba (1964), Testuo the Iron Man (1989), and Ju-On (2002), can be placed in their proper perspective, leading to a reevaluation of their worth not merely as commercial products, but as uniquely Japanese expressions of that society's unique place in world culture.

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 notion of masculine domination and the American philosopher Gayle Rubin’s charmed circle, in creating a theoretical framework, and using the methods of cultural and feminist film analysis to contextualize the films and locate the subjectification of the women. The movies that I will be analyzing are the Japanese director and poet Sion Sono’s Antiporno (アンチポルノ, 2016) and the Japanese director and photographer Mika Ninagawa’s Helter Skelter (ヘルタースケルター, 2012), which both center around two women and their struggle in becoming-cyborg, in relation to power, trauma, sexuality, technology, and beauty ideals in ‘modernized’ Japan. In that sense, I will study the phenomenon of operating outside the lines of social norms of femininity and desire.