The Chinese Cultural Revolution is the single most important internal social event in contemporary Chinese history. The plethora of history, literary, and artistic representations inspired by this event are critical to our understanding of the diversified, often contested, interpretations of contemporary China.
Li Li’s critical examination of autobiographic, filmic and fictional presentations in
Memory, Fluid Identity, and the Politics of Remembering: The Representations of the Chinese Cultural Revolution in English-speaking Countries demonstrates that “memory works” not only reflect memories of those who lived through that period, but memories about their past, and, more importantly, about their identity remapping and artistic negotiation in a cross-cultural environment.
Over the last two decades, Japanese filmmakers have produced some of the most important and innovative works of cinematic horror. At once visually arresting, philosophically complex, and politically charged, films by directors like Tsukamoto Shinya (
Tetsuo: The Iron Man  and
Tetsuo II: Body Hammer ), Sato Hisayasu (
Muscle  and
Naked Blood ) Kurosawa Kiyoshi (
Séance , and
Kaïro ), Nakata Hideo (
Ringu II , and
Dark Water ), and Miike Takashi (
Audition  and
Ichi the Killer ) continually revisit and redefine the horror genre in both its Japanese and global contexts. In the process, these and other directors of contemporary Japanese horror film consistently contribute exciting and important new visions, from postmodern reworkings of traditional avenging spirit narratives to groundbreaking works of cinematic terror that position depictions of radical or ‘monstrous’ alterity/hybridity as metaphors for larger socio-political concerns, including shifting gender roles, reconsiderations of the importance of the extended family as a social institution, and reconceptualisations of the very notion of cultural and national boundaries.