Aug 6, 2014 | Animation, Digital Media/Internet, fan culture, Film, Television, Uncategorized, Volume 24
This special issue developed out the Intermediations symposium held at the University of Otago on May 31, 2013,[1] and on the invitation of keynote speaker and Refractory Editor, Angela Ndalianis. Presenters at this symposium who have contributed essays here include...
Jun 26, 2014 | Browse Past Volumes, fan culture, Film, Games, Television, Uncategorized, Volume 23
Themed Issue: Transmedia Horror Edited by Jessica Balanzategui & Naja Later Contents 1. The Comfort and Disquiet of Transmedia Horror in Higurashi: When They Cry (Higurashi no naku koro ni) – Brian Ruh 2. Jodi Arias in the Public Sphere: Rhetorics of...
Jun 26, 2014 | Digital Media/Internet, fan culture, Film, Games, Uncategorized, Urban Space, Volume 23
The Slender Man is a monster that has crept into our frame of imagination in recent years. Invented on the Internet forum Something Awful in 2009, the Slender Man has developed into an entire multi-platformed transmedia mythos.[1] Defined by his liminality, he makes a...
Jun 26, 2014 | fan culture, Print Media, Television, Uncategorized, Urban Space, Volume 23
The Emergence of Paranormal Romance and Urban Fantasy Although it emerged only in the 1990s, the urban fantasy and paranormal romance genre now exerts a powerful influence on representations of monsters and the supernatural in popular culture. Over the last 25 years...
Jun 22, 2014 | fan culture, Film, Games, Other, Print Media, Television, Uncategorized, Urban Space, Volume 23
The Ring Franchise The circuits of transnational production sparked by Ringu (Hideo Nakata, 1998)[1] — which remains Japan’s most commercially successful domestic horror film ever released — are polyvalent and anfractuous, constituted of almost unprecedented levels of...
Feb 5, 2014 | fan culture, Film, Uncategorized, Volume 22
This article considers a recent group of Japanese films and filmmakers that use Asian Extreme style to signal an awareness of international audiences, and it will argue for a set of central features typifying this category of film, which is referred to as...
