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J-Horror takes a very different approach to this, focussing on delivering heavy “atmosphere, nuance and ambiguity” (Chaffin: 2005), instead of raw grotesque gore, mainly due to the fact that the Japanese audience is much more tolerant of it (Phelan: 10: 2005). In Japanese horror films there’s much more of an acceptance towards the irrational and the unexplained (Lovgren: 2004). Nakata says that the ghost need do nothing more than “stand behind and stare at the main character” (Davies: 2005) to create fear amongst the audience, it all comes from sounds, shadows and suggestions, you don’t need “a 3D creature lopping people’s heads off” (Lovgren: 2004).

Takashi Shimizu compares the current J-Horror style to films by American director John Carpenter, such as The Thing (1982) and Halloween. Saying that “just the suggestion of the presence of a ghost is frightening” (Dixon: 7: 2005), whereas Sarah Michelle-Gellar, star of The Grudge, describes Asian horror as being “much more beautiful, more poetic, leaving much more to the imagination” (Baughan: 78: 2005), a view which seems to be shared by many.

Western horror plots normally evolve around the idea that the characters discover the cause of the horror and then destroy it, but J-Horror works very differently to this. As Stephen Susco, the writer in charge of translating Ju-on: The Grudge for the remake puts it, Asian horror is more “like a haunted house that follows you” (Kay: 7: 2004), there’s no limits or barriers to the horror. For example in Ringu where Sadako Yamamura climbs out of the television set, breaching any line which might keep you safe.

In the west a ghost is often required to want something much more meaningful and have a deeper back-story, whereas “in Japan a ghost may simply want to terrify and destroy” (Phelan: 10: 2005). It’s the little differences like this which make these variations on the horror genre so different, where Hollywood mostly relies on over the top multiple sequences of death, Japan still has its roots firmly placed amongst the aesthetics of folklore, Japanese Noh and Kabuki theatre (McRoy: 214: 2006).

Although history would suggest that Europe was the first stop of film makers and studio’s looking to remake a movie for a world audience, Japan has long been a “happy hunting ground for Hollywood remakers” (Shackleton & Schilling: 2003: 17). First beginning in 1960 with The Magnificent Seven, John Sturges’ classic remake of the cult hit Shichinin no samurai, and then followed by Sergio Leone’s A Fistful of Dollars (1964), a remake of the Japanese film Yojimbo.

In fact Yojimbo was remade once again in 1996 in the Bruce Willis lead crime drama Last Man Standing, a tribute to Akira Kurosawa’s screenplay that it was still deemed worthy of a remake over 30 years later. Literally the largest example of Hollywood remaking a Japanese movie though is Godzilla(1998), Roland Emmerich’s re-envisioning of the then twenty two film monster series, beginning in 1954 with Goijira (Godzilla). It was this film which became one of the first early examples of a foreign film becoming “A本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。