A newly revised and corrected translation of what is perhaps the most famous and oft told tales of horror in Japan. The legend of Iwa and her curse blurs the lines between fact and fiction as it spins its terrifying tale of ghostly vengeance. Over nearly four hundred years in the repertoire of itinerant storytellers, in dramatic performances on stage, and in modern adaptations for anime and film, Iwa's story has lost none of its intoxicating power over the imagination. (c) Chisokudo Publications 2020 - Also available as an Apple iBook and as a Kindle eBook

Satoko Shimazaki revisits three centuries of kabuki theater, reframing it as a key player in the formation of an early modern urban identity in Edo Japan and exploring the process that resulted in its re-creation in Tokyo as a national theatrical tradition. Challenging the prevailing understanding of early modern kabuki as a subversive entertainment and a threat to shogunal authority, Shimazaki argues that kabuki instilled a sense of shared history in the inhabitants of Edo (present-day Tokyo) by invoking "worlds," or sekai, derived from earlier military tales, and overlaying them onto the present. She then analyzes the profound changes that took place in Edo kabuki toward the end of the early modern period, which witnessed the rise of a new type of character: the vengeful female ghost. Shimazaki's bold reinterpretation of the history of kabuki centers on the popular ghost play Tokaido Yotsuya kaidan (The Eastern Seaboard Highway Ghost Stories at Yotsuya, 1825) by Tsuruya Nanboku IV. Drawing not only on kabuki scripts but also on a wide range of other sources, from theatrical ephemera and popular fiction to medical and religious texts, she sheds light on the development of the ubiquitous trope of the vengeful female ghost and its illumination of new themes at a time when the samurai world was losing its relevance. She explores in detail the process by which nineteenth-century playwrights began dismantling the Edo tradition of "presenting the past" by abandoning their long-standing reliance on the sekai. She then reveals how, in the 1920s, a new generation of kabuki playwrights, critics, and scholars reinvented the form again, "textualizing" kabuki so that it could be pressed into service as a guarantor of national identity.

Presents two series, One Hundred Tales of Japan and China (Wakan hyaku monogatari) (1865) and New Forms of 36 Strange Things (Shinken sanjurokkaisen) (1889–92).

From the mists of prehistory to the present day, Japan has always had stories of fantastic monsters. There are women with extra mouths in the backs of their heads, water goblins whose favorite food is inside the human anus, elephant-dragons which feed solely on bad dreams, baby zombies, talking foxes, fire-breathing chickens, animated blobs of rotten flesh that run about the streets at night, and the dreaded "hyakki yagyo" "the night parade of one hundred demons"-when all of the yokai leave their homes and parade through the streets of Japan in one massive spectacle of utter pandemonium. What are yokai? Put simply, they are supernatural creatures of Japanese folklore. The word in Japanese is a combination of "yo," meaning "bewitching," and "kai," meaning "strange." The term encompasses monsters, demons, gods ("kami"), ghosts ("bakemono"), magical animals, transformed humans, urban legends, and other strange phenomena. It is a broad and vague term. Nothing exists in the English language that quite does the trick of capturing the essence of yokai. This field guide contains over 100 illustrated entries covering a wide variety of Japanese yokai. Each yokai is described in detail-including its habitat, diet, origin, and legends-based on translations from centuries-old Japanese texts. This book was first funded on Kickstarter in 2011 and then revised in 2015.

This book is a major historical and cultural overview of an increasingly popular genre. Starting with the cultural phenomenon of Godzilla, it explores the evolution of Japanese horror from the 1950s through to contemporary classics of Japanese horror cinema such as Ringu and Ju-On: The Grudge. Divided thematically, the book explores key motifs such as the vengeful virgin, the demonic child, the doomed lovers and the supernatural serial killer, situating them within traditional Japanese mythology and folk-tales. The book also considers the aesthetics of the Japanese horror film, and the mechanisms through which horror is expressed at a visceral level through the use of setting, lighting, music and mise-en-scene. It concludes by considering the impact of Japanese horror on contemporary American cinema by examining the remakes of Ringu, Dark Water and Ju-On: The Grudge.The emphasis is on accessibility, and whilst the book is primarily marketed towards film and media students, it will also be of interest to anyone interested in Japanese horror film, cultural mythology and folk-tales, cinematic aesthetics and film theory.

This book endeavours to unravel the complicated skeins of Japanese theatre in the modern period and offers an appreciation of the richness of choice of presentational and representational theatre forms. Since the end of world War II there has been continuing but different conflict between the major theatrical genres. Kabuki continues to defend its ground successfully, but the 'new drama' (shingeki) became firmly established in its own right in the 1960s. It was a vigorous and exuberant 'underground' theatre which exploited anything and everything in the Japanese and western theatre traditions. Now, thirty years on, they too have been superseded. The youth theatre of the 1980s and 90s has thrown aside the concerns of the angry underground and developed a fast-moving bewilderingly kaleidoscopic drama of breath-taking energy.

The dead wreak revenge on the living, paintings come alive, spectral brides possess mortal men and a priest devours human flesh in these chilling Japanese ghost stories retold by a master of the supernatural. Lafcadio Hearn drew on the phantoms and ghouls of traditional Japanese folklore - including the headless 'rokuro-kubi', the monstrous goblins 'jikininki' or the faceless 'mujina' who stalk lonely neighbourhoods - and infused them with his own memories of his haunted childhood in nineteenth-century Ireland to create these terrifying tales of striking and eerie power. Today they are regarded in Japan as classics in their own right. Edited with an introduction by Paul Murray

The cinema of Japan predates that of Russia, China, and India, and it has been able to sustain itself without outside assistance for over a century. Japanese cinema's long history of production and considerable output has seen films made in a variety of genres, including melodramas, romances, gangster movies, samurai movies, musicals, horror films, and monster films. It has also produced some of the most famous names in the history of cinema: Akira Kurosawa, Hayao Miyazaki, Beat Takeshi, Toshirô Mifune, Godzilla, The Ring, Akira, Rashomon, and Seven Samurai. The Historical Dictionary of Japanese Cinema is an introduction to and overview of the long history of Japanese cinema. It aims to provide an entry point for those with little or no familiarity with the subject, while it is organized so that scholars in the field will also be able to use it to find specific information. This is done through a detailed chronology, an introductory essay, and appendixes of films, film studios, directors, and performers. The cross-referenced dictionary entries cover key films, genres, studios, directors, performers, and other individuals. This book is an excellent access point for students, researchers, and anyone wanting to know more about Japanese cinema.

The Cambridge History of Japanese Literature provides, for the first time, a history of Japanese literature with comprehensive coverage of the premodern and modern eras in a single volume. The book is arranged topically in a series of short, accessible chapters for easy access and reference, giving insight into both canonical texts and many lesser known, popular genres, from centuries-old folk literature to the detective fiction of modern times. The various period introductions provide an overview of recurrent issues that span many decades, if not centuries. The book also places Japanese literature in a wider East Asian tradition of Sinitic writing and provides comprehensive coverage of women's literature as well as new popular literary forms, including manga (comic books). An extensive bibliography of works in English enables readers to continue to explore this rich tradition through translations and secondary reading.

Yurei Attack! is a nightmare-inducing one-stop guide to Japan's traditional ghosts and spirits. Surviving encounters with angry ghosts and sexy spectres. Haunted places. Dangerous games and how to play them. And more importantly, a guided tour of what awaits in the world of the dead. Yurei is the Japanese word for "ghost." It's as simple as that. They are the souls of dead people, unable--or unwilling--to shuffle off this mortal coil. Yurei are many things, but "friendly" isn't the first word that comes to mind. Not every yurei is dangerous, but they are all driven by emotions so uncontrollably powerful that they have taken on a life of their own: rage, sadness, devotion, a desire for revenge, or even the firm belief that they are still alive. This book, the third in the authors' bestselling Attack! series, after Yokai Attack! and Ninja Attack! gives detailed information on 39 of the creepiest yurei stalking Japan, along with detailed histories and defensive tactics should you have the misfortune to encounter one. Japanese ghosts include: Oiwa, The Horror of Yotsuya Otsuyu, The Tale of the Peony Lantern The Lady Rokujo, The Tale of Genji Isora, Tales of Moonlight and Rain Orui, The Depths of Kasane Book 3 of 3 in the Yokai Attack! series. Others include Ninja Attack! and Yokai Attack!.