...Raechel Dumas Abstract Contemporary Japan has been widely identified as a scene of crisis marked by the breakdown of established sociocultural institutions and the subordination of identity and desire to ever-evolving technocapitalist whims. Japanese-horror (J-horror) media of this period reveals...

... the dearth of scholarship about ecohorror, Joseph J. Foy’s work stands out. Foy argues that “ecologically based horror films, or ‘eco-horror,’ are fright flicks in which nature turns against humankind due to environmental degradation, pollution, encroachment, nuclear disaster, or a host of other reasons...

..., and the symptoms that accrue after the breach. As the psychoanalysts Jean Laplanche and J.-B. Pontalis describe it, trauma is an “event in the subject’s life defined by its intensity, by the subject’s incapacity to respond adequately to it, and by the upheaval and long-lasting effects that it brings about...

... and dying in the j'ets fro m the s o ld ie rs' fla m e th ro w e rs , th e film has su d d e n ly sw itched registers, m o vin g from one affectively charged genre, horror, to a very different, but equally affectively charged one, m elodram a.1 M elod ra m a specializes in heightened scenarios o f pathos...

..., Routledge, 2008; Lim its o f Horror, M anchester U nive rsity Press, 2008) and, w ith Scott W ilson, on Georges Bataille [Bataille, Palgrave-M acm illan, 2001) and Quentin Tarantino ( TheTarantinian Ethics, Sage, 2001). Rob B reto n is associate professor o f English Studies at N ipissing University. His...

... in W orld War II Combat Films," in Lehman, M asculinity, 149-66; fo r a dis­ cussion o f horror film s and the male spectator, see Carol J. Clover, Men, Women and Chain Saws: Gender in the M odern H orror Film (Princeton, NJ: Princeton UP 1992); fo r a discussion o f the male body in action film s, see...

... together with original synthesizer pieces that resemble those used in horror-film scores, vaporwave is an undead, artificial soundscape that floats somewhere between music and sound. Its fake nostalgia for an alternative yet ossified past aims to confront our contemporary social paralysis in the face...

... to readings of gothic literature: “The Gothic . . . is inherently about deep-seated and large-scale, even national and international, traumas that are intimated and yet masked behind hyperbolic symbols of them.” 4 The exaggerations and excesses that characterize horror become meaningful as monstrous...

... in a n t form o f the Am erican horror film .T h e last decade has seen m u lti­ ple cycles o f remakes, fro m so-called J -h o rro r remakes like The Grudge, The Ring, or One M isse d Call, to rem akes o f 1970s and '80s slasher film s like H allow een, W hen a S tra n g e r English Language N otes 48.1...

... VanderMeer’s City of Saints and Madmen (2001), and K. J. Bishop’s The Etched City (2003). As Sederholm observes, New Weird texts “blend various strands of horror, science fiction, and fantasy into a hybrid whole,” and both the weird tale and New Weird are descendants of gothic. 4 Beyond...

...Ariela J. Gross Copyright © 2021 Regents of the University of Colorado 2021 Works Cited Hartman Saidiya . “ The Dead Book Revisited .” History of the Present 6 , no. 2 ( 2016 ): 208 – 15 . Hartman Saidiya . “ The Time of Slavery .” South Atlantic Quarterly 101...

... as either anti-Semitic or not anti-Semitic. The generic consequences o f shooting in ancient languages are also worth noting. Like a number of earlier film s, The Passion merges the religious narrative w ith the horror story, a trend that goes back, as I have argued elsewhere, to Cecil B. DeMille's The Sign...

... and character debates in Victorian English literature. J. Adam Johns received his PhD in English from the University of Pittsburgh in 2006. He is the author of The Assault on Progress:Technology andTime in American Literature (University of Alabama Press, 2008) and of essays on Herbert Marcuse, Lewis Mumford...

... tist n o w held in M a d rid and in London (Spinosa, 131, 133); in th e sec­ ond version o f J u d ith and Holofernes, no w lost (166); and in the Beheading o f S aint John the B a p tis t in M alta (72-73). M uch o f th e n a tu ra lism o f these late p a in tin g s th a t is, th e ir detailed...

.... English in Practice: in Pursuit ofEnglish Studies. London: Arnold, 2003. Pp. xvi"+ 213. pb. $19.95. 0-340-80886-1. Barth, J. Robert, S.J. Romanticism and Transcendence: Wordsworth, Coleridge, and the Religious Imagination. Columbia and London: U of Missouri P, 2003. Pp. xiv + 146. he. $29.95. 0-8262-1453...

... entertainment. Is Gibson's movie just a mainstream version of horror-film gore or a profound memento mori about meaningful sacrifice and redemption? How m ight it affect different types of viewers in the mass audience, bringing various fears and faiths to the screen, which are influenced by the perverse...

... to be everything, the place of the event where one is lifted up into or overcome by the fact of language as appear­ ance of the unnamable, w hat Meister Eckhart indicates in the form of a prayer against the Name (/ pray to God to rid me o f God), and w hat H. R Lovecraft provides under the sign of horror: "N o...

..., a familiar/unfamiliar breach of the skin ( trauma , wound) by a splinter or sliver that isn’t quite a splinter or sliver from a familiar/unfamiliar object, a plant described in uncanny, mesmerizing ways. While Saul’s transformation suggests the strange conditions explored in body horror, rather than a David...

... is about "the horror o f oblivion."9 The focus in the film is therefore on these top ics forgetting, love, the sym bolism o f both not merely on the individual psyche or the relationship between the tw o characters. She's story is not only about her. It involves He and is raised to being about "o b livio...

... was the invention of autonomous diving technologies, rooted in military technologies.” In her words, “Mobility devices give birth to the myth of the ‘merman.’” 7 Modern scuba was vastly less dangerous and expensive than the earlier military CCOUBA used by J. E. Williamson, who was the first to film underwater...