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Horror to the ExtremeChanging Boundaries in Asian Cinema$
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Jinhee Choi and Mitsuyo Wada-Marciano

Print publication date: 2009

Print ISBN-13: 9789622099722

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789622099722.001.0001

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PRINTED FROM HONG KONG SCHOLARSHIP ONLINE (www.hongkong.universitypressscholarship.com). (c) Copyright Hong Kong University Press, 2022. An individual user may print out a PDF of a single chapter of a monograph in HKSO for personal use.date: 23 May 2022

The Mummy Complex:

The Mummy Complex:

Kurosawa Kiyoshi’s Loft and J-horror

(p.102) (p.103) 6 The Mummy Complex:
Horror to the Extreme

Chika Kinoshita

Hong Kong University Press

This chapter is concerned with the regional and national categorization of J-horror, which one can arguably regard as a forerunner of the horror boom in Asia. It specifies that J-horror is not inclusive of all horror films shot in Japanese language and/or produced by the Japanese film industry. Rather, it is tied to a specific period and filmic style, and is connected to a close-knit group of filmmakers, critics, and distributors. It highlights Kurosawa Kiyoshi'sLoft (2005), and analyzes the film's narrative and stylistic aspects that are representative of J-horror and reconnects it to issues of globalized film production and consumption, calling into question the framework of identity and difference that tends to underlie both Japanese critical discourse and North American reception.

Keywords:   J-horror, horror boom, Kurosawa Kiyoshi, Loft, identity, North American reception

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