The Road to Doomsday in Japanese Horror Movies (Part 1)

Although Japan tries to package the new generation of Japanese movies with names, such as "New J Movies" or "New Participants" as "Zero Generations of Cinema", in fact Everyone knows that the only Japanese horror films that can get some commercial support outside of Japan are in fact. It is the so-called J Horror movie, and Jay McRoy's "Japanese Horror Cinema" was released, and there are also connected context links behind it.

From an industrial point of view, as Daisuke Onizuka said in "Japan's Terror is Chained in the World!" 〉It is said that the rise of Japanese horror films is closely related to the drastic changes in the survival of the industry. He pointed out that the situation was just like that of American films in the 1960s, when the studio system collapsed, so newcomers poured into the B film market and invested in low-cost film and television production. In other words, they also became a training ground for new directors. The subject matter naturally focuses on pornographic violence, or the appearance of rioters or monsters. Of course, the terrorist element is one of the main selling points. Due to the low cost, producers usually do not strictly monitor the content, especially most of them are DTV (that is, they will not be shown in theaters, but are only cheap production for rental or sales purposes), so the freedom of the director is also It multiplied with it. In fact, the above situation is not unfamiliar to Hong Kong audiences. The Shaw Films, which dominated the world in the 1970s and 1980s, did the same with large-scale and low-cost production to fill and fill the entire market. . Of course, it was one of the commercial strategies that were operating under the studio system to try to monopolize the market. But looking back from the perspective of the work, there were indeed a series of horror movies under Gui Zhihong's ("Evil", "Gu"). , "Devil", "Devil", etc.), the transformation from quantitative change to qualitative change can not be easily ignored.

The entry point for image reproduction

The new wave of horror films in Japan have a close relationship with video culture to a large extent. Beginning with Hideo Nakata’s "Midnight Bell" (1998), the entire curse was directly related to the copying and dissemination of images. On the surface, it is an application that uses modern civilization tools to transplant modern "tradition" grievances from the past to the present. But if the "tradition" part is left aside, then the "cursed video tape" may be used. As Daisuke Onizuka said, it was regarded as a reverse introspection of Japan's large-scale export of electrical VCR products to the world, and it can even be used as a metaphor to reflect on the resentment of Japan's economic growth.

In fact, the "affinity" of new Japanese horror films with AV machines and even some telecommunications products has always been very high. Kurosawa Kiyoshi's "Ghost Loop" (2000), Shimizu Takashi's "Rare Man" (2004), and Miike Toshi's "Ghost Call" (2004), etc., are inextricably linked to the world of electronic communications. It even derives from this, which just happens to bring the telecom world's far-reaching surveillance of human activities to more vividly highlight the "terrorism" behind it. In fact, even in popular texts, the surveillance concerns about the world of telecommunications networks have long been mentioned in the "Jumping Search Line 2: Blocking Rainbow Bridge" (2003). And in the novel world, Kotaro Isaka, in "The Home Delivery Boy and the Beatles Lullaby" (2007), even puts the celestial eye surveillance as the pilot project of Sendai City, and the imagination of the assassination of the Japanese prime minister's derailment is placed in the work. This shows that the "terrorism" of telecommunications networks has long been overflowing with daily imagination.

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