In his research about remakes, Wolfgang Arend suggests that classical stories like Romeo and Juliet are universally understandable, if they are reduced to minimal narrative structures. In this respect, the question arises whether a story can go unchanged through a geographical transposition, or if it must come to narrative transformations in order to enable an understanding in relation to the respective cultural background. This thesis could be verified based on horror movies and their cross-cultural remakes. Hollywood horror films usually take place on the border between the normality, following the laws of nature, and the location of the inexplicable, the illogical and chaos. The fear of the unknown is driven by conservative values here, centered on Christianity and monotheism. In contrast, there exists no two worlds system in the recent Japanese horror film. Accordingly to the ideas of Shinto, all people have a soul which is united with those of the ancestors after death. Strong feeling affairs (revenge, desire, love), however, can lead to a temporarily remain as a ghost (Yūrei) in the real world. Accordingly, the world of men is the same as that of the spirits. It is mainly this cultural difference, which is responsible for the different characteristics of Japanese films like Ringu, Ju-on, or Kairo and their American remakes The Ring, The Grudge, and Pulse. Correspondingly, the paper will take a closer look on differing contextual factors (like time of release, target audiences, cultural backgrounds) and corresponding changes in the cinematic treatment of the same material.