Excerpt from Spoken Word Stories in the Digital Age
This is an excerpt from the paper I wrote for this project, which explores and explains the influences behind Flow. I will upload this paper in full at some point soon, then link here, for those interested. The full paper has all my references and sources used for the research of this paper.
“There is a basic formula that exists in almost every tale of terror in which a beast threatens the perception of normality. This simple rule binds all creatures of fear together, whether they are a supernatural being, an alien, a mutant creature or otherwise. Each horror story combines three main aspects together during its creation; the normal lives of the protagonists, the beast of terror and the relationship that evolves between the two sides (Wood, 1979). The perception of normality within horror is not always a fixed aspect as it changes with; the author of the story, the protagonists depicted, and the era in which the tale is set (Howard, n.d.).
Horror films that are produced for a Western audience have a tendency to focus on gory, violent aspects of the tale, which are largely influenced by American gothic literature (Tsai, 2009). These productions offer the audience a chance to be onlookers in a situation that would otherwise be regarded as culturally taboo, distasteful, upsetting or of a shocking nature (Howard, n.d.). Violence and gore have become integral to this genre, providing the target audience with the emotional release it frequently craves (Dew, 2007; Sherwood, 2011). Representations of ghosts within Hollywood horror movies, where they are used as a central narrative point, often have these spirits materialise into a tangible form. Films which do not follow this format explain the haunting as a by-product of a diseased mind or merely that of a dream construct. Rarely does Western horror break away from these conventions (Tsai, 2008).
Where Western cinema uses action as a pivotal plot point and European films focus more on character development, the Japanese movies are created around an environment of ambience and disquiet. This directly influences the characters and their actions (Balmain, 2006). Japanese horror embraces narratives which are ambiguous and require interpretation. Fear in these productions is more often implied rather than being explicitly shown (Tsai, 2008). Desolate and neglected places that serve as a reminder of the narrow void between the worlds of living and the deceased are a common source of inspiration in such narratives (Balmain, 2006).
In order to understand the unique aesthetics behind Japanese horror films, it is necessary to comprehend the process of destruction and regeneration that has been almost constant in Japan for over 400 years. Natural disasters, fires, war and nuclear devastation have affected both the people and the architecture of Japan in a profound way. There are very few old buildings, especially in residential areas as they are demolished and rebuilt approximately every 30 years or so (Balmain, 2006). This renewal process bears similarity to the way in which Shinto shrines are periodically rebuilt every 20 years. This practice was once more common in Japan than it is today, however the grand shrines of Ise are still rebuilt in this tradition, with each stone and pillar from the shrine moved by hand in a painstakingly ceremonious fashion between the sites every two decades (Harding, 2000).
There is a feeling of seclusion and detachment that is perceived by the current generation of Japanese youth, who find themselves living in a society that is confined somewhere between ancient customs and cutting edge technology (Balmain, 2006). These feelings are mirrored in Japanese horror productions, which show this shared sense of despair in the characters generated (Ng, 2008). Terror is created in these films by tapping into common, negative emotions or fears such as confinement, darkness, loneliness, melancholia and worthlessness. It is from these very anxieties that the characters themselves are formed (Balmain, 2006).
Ghosts are not always specifically shown in Japanese horror films, as there is a preference for creating an aura of psychological fear instead. An illusion of otherworldliness is not created by use of special effects in Japanese productions to the same extent as they are used in Hollywood. Sound design, videography and lighting effects are given greater prominence in Japanese horror movies than in their Western counterparts (Ng, 2008). In opposition to the Western, Christian based belief that ghostly apparitions should be regarded as malevolent and preternatural, the Japanese accept spirits as part of their daily lives. These entities are perceived as part of nature and accepted as such (Ancuta, 2008; Tsai, 2008).
Sounds which are utilised by Asian horror films to depict moments of terror differ to those traditionally used by Western movie makers. One of the most notable contrasts is the implementation of quiet sounds or silence to create fear within the audience, which is an approach employed frequently in Japanese productions (Grimshaw, 2009; Wierzbicki, 2009). This acoustical spacing technique is based on a Japanese principle known as ma, which translates loosely as “negative space” or “substantial silence” (Goda, 2010; Wierzbicki, 2009). Audio design which is created around this concept of ma, allows room for each sound to breathe. Moments of high tension in Japanese horror films are rendered more powerfully with the inclusion of space or silence around all audio effects (Wierzbicki, 2009).
Another commonly heard aspect in Japanese sound design is sō-on which roughly means “noise” or “noisy sound”. When used during a musical performance sō-on is regarded as simply part of the music itself (Wierzbicki, 2009). However this sharp, metallic scraping sound has been used to invoke fear in audiences in many horror productions (Ng, 2008; Wierzbicki, 2009). Soundscapes which have been produced in a minimalistic, low fidelity style with layers of intrusive sounds create confusion and toys with the audience’s survival instincts (Garner, Grimshaw & Nabi, 2010). Sō-on is used throughout Hideo Nakata’s Ringu, as a way of indicating danger to the audience. One of the most notable inclusions of this sound phenomenon can be heard in the scene (1:25.07 – 1:27.50) where Sadako materialises from Ryuji’s television (Ringu, 1998). The original screenplay by Hiroshi Takashi describes the audio effect in this scene as one which both repels and compels Ryuji to move closer to the source of the sound (Wierzbicki, 2009).
Fig.1. – Screen shot from Ringu, showing Ryuji in fear and fascination (Ringu, 1998).
Fig.2. – Screen shot from Ringu. Ryuji is helpless and cannot move, nor look away from the source of the sound (Ringu, 1998).
Fig.3. – Screen shot from Ringu. Sadako materialises from the television set (Ringu, 1998).
Scenes of high tension are often created in Japanese horror with the inclusion of frequencies which are either below 20Hz (infrasound), or above 20,000Hz (ultrasound). Sounds produced in these spectrum ranges are beyond the boundaries of normal human hearing (Ng, 2008; Polli, 2006). These extremely low and high pitched frequencies are said to have a negative psychological effect on those who listen to them (Ng, 2008). Humans can also be physically affected by sounds they are unable to perceive. Both high pressure ultrasound and low frequency infrasound can physically damage or affect the body negatively. Frequencies between 7 and 8 Hz are regarded as dangerous to humans, causing a range of negative physical effects such as; headaches, nausea, respiratory issues and post –exposure exhaustion. Low frequency infrasound can cause ocular oscillations, which can distort or even cause short term loss of vision. Infrasound which is created in industrial environments or by oncoming storms has been known to cause hallucinations, blurred vision and feelings of terror. These physical effects have been used to explain sightings of ghostly apparitions, by individuals who have been exposed to this sound frequency (Polli, 2006).
Although Japanese horror may contain audio elements which are culturally unique in their projection of threat, these productions also use sounds which are universally interpreted and understood as a portent of fear. Sounds which are considered familiar are often synthesised to create unfamiliarity and a sense of uncanny, which usually evokes discomfort in the audience. The telephone ringtone sound effect used in Ringu is an example of this audio practice, due to the digital altering of a familiar sound to support the film’s watery theme (Grimshaw, 2009).”
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