Archive
Special issues:
Literature and Linguistics (Vol. 1 No. 2); Literature and Violence (Vol. 3 Nos. 1-2)
Women, Consumption and Popular Culture (Vol. 4 No. 1); Life, Community, and Ethics (Vol. 4. No. 2)
The Making of Barbarians in Western Literature (Vol. 5 No. 1); Chaos and Fear in Contemporary British Literature (Vol. 5 No. 2)
Taiwan Cinema before Taiwan New Wave Cinema (Vol. 6 No. 1); Catastrophe and Cultural Imaginaries (Vol. 6 No. 2)
Affective Perspectives from East Asia (Vol. 9 No. 2); Longing and Belonging (Vol. 10 No. 2, produced in collaboration with the European Network for Comparative Literary Studies)
Transatlantic Literary and Cultural Relations, 1776 to the Present (Vol. 11 No. 2).
Kevin J. Wetmore, Jr.
ABSTRACT
Many scholars locate a Gothic tradition in Japan in the literary. However, historically an argument can be made for additional theatrical origins of the Japanese Gothic, locating it in the dramas and stage spectacles of nō and kabuki as much as literature. In turn, these forms shape and influence the Japanese cinema, creating a Gothic heritage of madness, ghosts, monsters, the erotic, death and the macabre through narrative and material culture. The film Gurozuka, through its depiction of a student film project adapting a nō play as a horror film, demonstrates how Japan’s Gothic cinema is haunted by its Gothic theatre.
KEYWORDS: kabuki, nō, Gothic, yūrei, Gurozuka, cinema, haunting
DOI: 10.30395/WSR.202306_16(2).0002