A Gathering Of Spirits Japan S Ghost Story Tradition

"Prepare for a sampling of Japanese ghosts and spirits, from sources that include the worlds oldest novel, the urban legends of contemporary Japanese schoolchildren, movies both classic and modern, anime, manga, and more." For hundreds of years Japan has lived in a reality consisting of the real world and the spirit world; sometimes the wall between the two worlds gets thin enough for spirits to cross over. In such a reality, ghost stories have been popular for centuries. Patrick Drazen, author of "Anime Explosion", looks at these stories: old and new, scary or funny or sad, looking at common themes and the reasons for their popularity. This book uses one Japanese ghost story tradition: the "hyaku monogatari" (hundred stories). In the old tradition, people tell each other one hundred ghost stories in one sitting. These hundred tales run from folklore to cartoons, but all are designed to send chills up the spine ...

"Prepare for a sampling of Japanese ghosts and spirits, from sources that include the world's oldest novel, The urban legends of contemporary Japanese schoolchildren, movies both classic and modern, anime, manga, and more." for hundreds of years Japan has lived in a reality consisting of the real world And The spirit world; sometimes the wall between the two worlds gets thin enough for spirits to cross over. In such a reality, ghost stories have been popular for centuries. Patrick Drazen, author of "Anime Explosion", looks at these stories: old and new, scary or funny or sad, looking at common themes And The reasons for their popularity. This book uses one Japanese ghost story tradition: The "hyaku monogatari" (hundred stories). In the old tradition, people tell each other one hundred ghost stories in one sitting. These hundred tales run from folklore to cartoons, but all are designed to send chills up the spine ...

"A Best Book of 2009" —The Japan Times Japanese Ghost Stories, formerly published under the title Supernatural and Mysterious Japan, is a collection of the eerie and terrifying from around Japan. This book opens a window into the hidden aspects of the Japanese world of the paranormal, a place where trees grow human hair, rocks weep and there's even a graveyard where Jesus is reputed to have been buried. Covering ancient and modern times, Japanese Ghost Stories offers not only good, old-fashioned scary stories, but some special insights into Japanese culture and psychology. Japanese ghost stories include: In Search of the Supernatural Psychic Stirrings New Forays into the Mystic Strange but True Modern-Day Hauntings Scenes of Ghosts and Demons Edo-Era Tales

Christianity has been in Japan for five centuries, but embraced by less than one percent of the population. It’s a complicated relationship, given the sudden appearance in Japan of Renaissance Catholicism which was utterly unlike the historic faiths of Shinto and Buddhism; Japan had to invent a word for “religion” since Japan did not share the west’s reliance on faith in a personal God. Japan’s views of this “outsider” religion resemble America’s view of the “outsider” Islamic faith. Understanding this through the book Orientalism by Edward Said, Patrick Drazen samples depictions of Christianity in the popular Japanese media of comics and cartoons. The book begins with the work of postwar comics master Tezuka Osamu, with results that range from the comic to the revisionist to the blasphemous and obscene.

In Ghostly Japanis a collection of supernatural and ghost stories, short pieces and folktales from Japan. Through these spooky stories, the author also analyses parts of the Japanese culture, dealing with philosophical and spiritual musing on the supernatural stories of Japan. Table of Contents: Furisodé Incense A Story of Divination Silkworms A Passional Karma Footprints of the Buddha Ululation Bits of Poetry Japanese Buddhist Proverbs Suggestion Ingwa-banashi Story of a Tengu At Yaidzu

Kyoto Animation, a studio with very humble beginnings, has gained recognition the world over as a uniquely inspired and inventive enterprise. This book examines Kyoto Animation's philosophy and creative vision with close reference to its anime. It focuses on the studio's choice of genres, themes and imagery while exploring its maintenance of high production values. The analysis highlights the studio's commitment to the pursuit of both artistic excellence and technical experimentation--and its reliance on the imagination and expertise of in-house staff.

There is no shortage of ghost stories in Japan! Between the ghosts that haunt houses and the spirits that frighten passers-by, the Yurei form a specific category of Japanese folklore. The Yokai of this type make it possible to educate the children, certainly, but they also bring explanations on what there is after death.The Yurei participate in the cultural richness of Japan, as much through fear as through compassion. Each story features a specific situation that participates in the Japanese Shinto and Buddhist traditions.Contrary to what one might think, ghosts are not necessarily evil: in many cases a Yurei is a grieving soul.Through this book, discover various stories that have marked Japan and mentalities. Learn more about Japanese spirituality, the relationship of the living with the dead and the afterlife according to the Japanese people.

Circulating Fear: Japanese Horror, Fractured Realities, and New Media explores the changing role of screens, new media objects, and social media in Japanese horror films from the 2010s to present day. Lindsay Nelson places these films and their paratexts in the context of changes in the new media landscape that have occurred since J-horror's peak in the early 2000s; in particular, the rise of social media and the ease of user remediation through platforms like YouTube and Niconico. This book demonstrates how Japanese horror film narratives have shifted their focus from old media—video cassettes, TV, and cell phones—to new media—social media, online video sharing, and smart phones. In these films, media devices and new media objects exist both inside and outside the frame: they are central to the films’ narratives, but they are also the means through which the films are consumed and disseminated. Across a multitude of screens, platforms, devices, and perspectives, Nelson argues, contemporary Japanese horror films are circulated as an ever-shifting series of images and fragments, creating a sense of “fractured reality” in the films’ narratives and the media landscape that surrounds them. Scholars of film studies, horror studies, media studies, and Japanese studies will find this book particularly useful.