MAGSALIN, CAMILLE NADINE T.
COM709M
CRITICAL ESSAY # 2
Toshio’s Emancipation: A Comparison of Ju-On The Grudge (2003) and Ju-On The Final Grudge (2015)
This paper will talk about the two instalments of Ju-On, the motion picture delivered and co-composed by Takashige Ichise and coordinated and co-composed by Masayuki Ochiai – the similitudes and contrasts between the two and how can this mirror Japan's culture all in all.
Brief synopsis
Ju-On: The Grudge (2003) revolves around the actress Kyoko Harase and her pregnancy. After a car accident caused by Toshio's ghost, Kyoko apparently miscarries. When her doctor assures her of a healthy pregnancy, Kyoko becomes perplexed. It is revealed that Kyoko was involved with a horror television …show more content…
Film should be a general dialect, however the film business in any given nation is normally keep running by local people for local people. The one great exception is Hollywood, which has been making films for the world since the silent days and is open to talent, preferably English speaking, from around the globe. The Japanese film industry is not Hollywood; the huge media organizations that overwhelm it concentrate solely on the residential business sector, with the outside group of onlookers an idea in retrospect. Japanese movie producers infrequently wander abroad, however their stories regularly focus on Japanese characters.
For a brief history, conventional Japanese fine arts, for example, theater, greatly affected film structure and subject. Subsequently, movies acquired the Kabuki theater's scientific classification of two fundamental kinds: the jidaigeki, "recorded dramatizations relating the deplorability of taking after society's principles," and the gendaimono, a depiction of "contemporary circumstances in which picking individual joy over obedient and primitive devotion regularly prompted suicide" (Balmain, 2008). As per Balmain, two of the most vital after war motion pictures of Japanese …show more content…
In both versions, the female element is the lead and the key to repairing whatever it is that has been damaged in the world of the unknown. In the 2002 version, Kyoko plays the prime target of Toshio which we can consider the monster – for he represents destruction, disease, and death for his successful attempts at killing lives. Another female lead plays in the 2015 version, Mai, who was suddenly involved in the curse even without direct contact with Toshio. However, in both films, the protagonist is not male and what remained though is that both male leads were consistently the wicked element, the cause of all evil by the monster (Toshio). Ju-On can be classified into the "Haunted Houses and Family Melodramas" which focuses on how the domestic space, which is considered sacred and safe, becomes instead the source of horror and dreadful acts (Balmain, 2008). The threat is "inside and knocking on the door of the last bastion of Japanese patriarchy: the family as embedded within the wider community" (Balmain, 2008, p. 129). Ju-On is a representation of monstrous mother, who embodies the "patriarchal fear around female power". Ju-On utilizes the traditional Japanese figures of the wronged woman together with that of the vengeful fetus. Therefore, the movie expresses society's fears of the growing episodes of violence in domestic environments as a result of growing feelings of isolation and alienation. The concept of domestic
COM709M
CRITICAL ESSAY # 2
Toshio’s Emancipation: A Comparison of Ju-On The Grudge (2003) and Ju-On The Final Grudge (2015)
This paper will talk about the two instalments of Ju-On, the motion picture delivered and co-composed by Takashige Ichise and coordinated and co-composed by Masayuki Ochiai – the similitudes and contrasts between the two and how can this mirror Japan's culture all in all.
Brief synopsis
Ju-On: The Grudge (2003) revolves around the actress Kyoko Harase and her pregnancy. After a car accident caused by Toshio's ghost, Kyoko apparently miscarries. When her doctor assures her of a healthy pregnancy, Kyoko becomes perplexed. It is revealed that Kyoko was involved with a horror television …show more content…
Film should be a general dialect, however the film business in any given nation is normally keep running by local people for local people. The one great exception is Hollywood, which has been making films for the world since the silent days and is open to talent, preferably English speaking, from around the globe. The Japanese film industry is not Hollywood; the huge media organizations that overwhelm it concentrate solely on the residential business sector, with the outside group of onlookers an idea in retrospect. Japanese movie producers infrequently wander abroad, however their stories regularly focus on Japanese characters.
For a brief history, conventional Japanese fine arts, for example, theater, greatly affected film structure and subject. Subsequently, movies acquired the Kabuki theater's scientific classification of two fundamental kinds: the jidaigeki, "recorded dramatizations relating the deplorability of taking after society's principles," and the gendaimono, a depiction of "contemporary circumstances in which picking individual joy over obedient and primitive devotion regularly prompted suicide" (Balmain, 2008). As per Balmain, two of the most vital after war motion pictures of Japanese …show more content…
In both versions, the female element is the lead and the key to repairing whatever it is that has been damaged in the world of the unknown. In the 2002 version, Kyoko plays the prime target of Toshio which we can consider the monster – for he represents destruction, disease, and death for his successful attempts at killing lives. Another female lead plays in the 2015 version, Mai, who was suddenly involved in the curse even without direct contact with Toshio. However, in both films, the protagonist is not male and what remained though is that both male leads were consistently the wicked element, the cause of all evil by the monster (Toshio). Ju-On can be classified into the "Haunted Houses and Family Melodramas" which focuses on how the domestic space, which is considered sacred and safe, becomes instead the source of horror and dreadful acts (Balmain, 2008). The threat is "inside and knocking on the door of the last bastion of Japanese patriarchy: the family as embedded within the wider community" (Balmain, 2008, p. 129). Ju-On is a representation of monstrous mother, who embodies the "patriarchal fear around female power". Ju-On utilizes the traditional Japanese figures of the wronged woman together with that of the vengeful fetus. Therefore, the movie expresses society's fears of the growing episodes of violence in domestic environments as a result of growing feelings of isolation and alienation. The concept of domestic