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New Flesh Cinema: Japanese Cyberpunk...

Henry, Sarah.

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New Flesh Cinema: Japanese Cyberpunk-Body Horror and Cinema as Catharsis in the Age of Technology.

Record Type:	Electronic resources : Monograph/item
Title/Author:	New Flesh Cinema: Japanese Cyberpunk-Body Horror and Cinema as Catharsis in the Age of Technology./
Author:	Henry, Sarah.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	153 p.
Notes:	Source: Masters Abstracts International, Volume: 82-03.
Contained By:	Masters Abstracts International82-03.
Subject:	Film studies. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28028660
ISBN:	9798664718133

New Flesh Cinema: Japanese Cyberpunk-Body Horror and Cinema as Catharsis in the Age of Technology.
Henry, Sarah.

New Flesh Cinema: Japanese Cyberpunk-Body Horror and Cinema as Catharsis in the Age of Technology. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 153 p.

Source: Masters Abstracts International, Volume: 82-03.

Thesis (M.A.)--University of Arkansas, 2020.

This item must not be sold to any third party vendors.

This thesis provides a critical analysis of a specific group of films that combine the subgenres of cyberpunk and body horror which I call New Flesh Cinema. Films of this subgenre counter fears and anxieties of technological advancements by re-imagining the rise of technology and its societal effects as a transitional process through the illustration of literal and visceral depictions of the necessary alterations people will have to undergo in order to transition successfully into the new world. To contradict apocalyptic fears of advancing technology, these films offer a vision of a "New Flesh." I argue the films share three important commonalities: they depict technology as a mediator of our actions, interactions, and perception of reality, they stress the importance and discomfort of adapting and transforming, and they address technophobia by revealing a fascination and fear of technology as well as the need and inevitability of a new flesh for a new world. The analysis develops over three case studies of five New Flesh Cinema films: Katsuhiro Otomo's Akira (1988), Shinya Tsukamoto's Tetsuo: The Iron Man (1989), Shigeru Izumiya's Death Powder (1986), Shozin Fukui's 964 Pinocchio (1991), and Fukui's Rubber's Lover (1996). Through these case studies, I shed light on the social significance of New Flesh Cinema as a cathartic medium for an anxious society facing social changes. This contributes to a larger conversation concerning media and society's cyclical pattern of influence.

ISBN: 9798664718133Subjects--Topical Terms:

2122736
Film studies.
Subjects--Index Terms:

Body horror

New Flesh Cinema: Japanese Cyberpunk-Body Horror and Cinema as Catharsis in the Age of Technology.
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300 $a 153 p.
500 $a Source: Masters Abstracts International, Volume: 82-03.
500 $a Advisor: Sharman, Russell L.
502 $a Thesis (M.A.)--University of Arkansas, 2020.
506 $a This item must not be sold to any third party vendors.
520 $a This thesis provides a critical analysis of a specific group of films that combine the subgenres of cyberpunk and body horror which I call New Flesh Cinema. Films of this subgenre counter fears and anxieties of technological advancements by re-imagining the rise of technology and its societal effects as a transitional process through the illustration of literal and visceral depictions of the necessary alterations people will have to undergo in order to transition successfully into the new world. To contradict apocalyptic fears of advancing technology, these films offer a vision of a "New Flesh." I argue the films share three important commonalities: they depict technology as a mediator of our actions, interactions, and perception of reality, they stress the importance and discomfort of adapting and transforming, and they address technophobia by revealing a fascination and fear of technology as well as the need and inevitability of a new flesh for a new world. The analysis develops over three case studies of five New Flesh Cinema films: Katsuhiro Otomo's Akira (1988), Shinya Tsukamoto's Tetsuo: The Iron Man (1989), Shigeru Izumiya's Death Powder (1986), Shozin Fukui's 964 Pinocchio (1991), and Fukui's Rubber's Lover (1996). Through these case studies, I shed light on the social significance of New Flesh Cinema as a cathartic medium for an anxious society facing social changes. This contributes to a larger conversation concerning media and society's cyclical pattern of influence.
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653 $a Media and society
653 $a New flesh cinema
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