{"id":{"repo_id":"njit","oai_identifier":"oai:digitalcommons.njit.edu:theses-1398"},"canonical_url":"https://search.dev.ndltd.org/etd/njit/oai:digitalcommons.njit.edu:theses-1398","repository":{"repo_id":"njit","name":"NJIT","base_url":"https://digitalcommons.njit.edu/do/oai/"},"display":{"title":"J-Horror : A discourse in cross-cultural communication and cinematic hybridity","abstract":"Film visually communicates the idea of culture, leaving interpretation open to an impressionable audience. Though a genre's recognizable iconography can transcend boundaries, understanding a film's intended message still requires a certain amount of foreknowledge. J-Horror, the common term for Japanese horror among fans, is a sub- genre of Horror that has been catapulted into Hollywood's limelight due to adaptations such as The Ring (2002). Based upon a novel, Ringu, by Koji Suzuki and Nakata Hideo's 1998 cinematic creation of the same name, Gore Verbinski adapted the terrifying plot for Western audiences in his 2002 counterpart. With the cross-cultural transition, certain aspects of the premise and characters were changed. I posit these differences are more than artistic reinterpretation, and are culturally significant. However, while certain facets of fear are culturally specific, the horror film serves as a universalizing tool of communication, surpassing cultural boundaries.","abstract_html":"Film visually communicates the idea of culture, leaving interpretation open to an impressionable audience. Though a genre's recognizable iconography can transcend boundaries, understanding a film's intended message still requires a certain amount of foreknowledge. J-Horror, the common term for Japanese horror among fans, is a sub- genre of Horror that has been catapulted into Hollywood's limelight due to adaptations such as The Ring (2002). Based upon a novel, Ringu, by Koji Suzuki and Nakata Hideo's 1998 cinematic creation of the same name, Gore Verbinski adapted the terrifying plot for Western audiences in his 2002 counterpart. With the cross-cultural transition, certain aspects of the premise and characters were changed. I posit these differences are more than artistic reinterpretation, and are culturally significant. However, while certain facets of fear are culturally specific, the horror film serves as a universalizing tool of communication, surpassing cultural boundaries.","abstract_has_math":false,"creators":["Quillen, MaryLou"],"institution":null,"degree_name":"Master of Science in Professional and Technical Communication - (M.S.)","degree_level":null,"degree_discipline":"Humanities","degree_department":null,"school":null,"contributors":["Robert Edward Lynch","Nancy Steffen-Fluhr","John E. O'Connor"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2007,"date_issued":"2007-01-31T08:00:00Z","date_published":"2007-01-31T08:00:00Z","updated_at":"2026-07-24T03:23:22Z","subjects":["J-horror","Cross-cultural communication","Horror films","Technical and Professional Writing"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://digitalcommons.njit.edu/theses/399","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Robert Edward Lynch","Nancy Steffen-Fluhr","John E. 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Though a genre's recognizable iconography can transcend boundaries, understanding a film's intended message still requires a certain amount of foreknowledge. J-Horror, the common term for Japanese horror among fans, is a sub- genre of Horror that has been catapulted into Hollywood's limelight due to adaptations such as The Ring (2002). Based upon a novel, Ringu, by Koji Suzuki and Nakata Hideo's 1998 cinematic creation of the same name, Gore Verbinski adapted the terrifying plot for Western audiences in his 2002 counterpart. With the cross-cultural transition, certain aspects of the premise and characters were changed. I posit these differences are more than artistic reinterpretation, and are culturally significant. However, while certain facets of fear are culturally specific, the horror film serves as a universalizing tool of communication, surpassing cultural boundaries."]},{"key":"dc:title","label":"Title","values":["J-Horror : A discourse in cross-cultural communication and cinematic hybridity"]}]}],"canonical_facts":{"dc:contributor":["Robert Edward Lynch","Nancy Steffen-Fluhr","John E. O'Connor"],"dc:creator":["Quillen, MaryLou"],"dc:description.abstract":["Film visually communicates the idea of culture, leaving interpretation open to an impressionable audience. Though a genre's recognizable iconography can transcend boundaries, understanding a film's intended message still requires a certain amount of foreknowledge. J-Horror, the common term for Japanese horror among fans, is a sub- genre of Horror that has been catapulted into Hollywood's limelight due to adaptations such as The Ring (2002). Based upon a novel, Ringu, by Koji Suzuki and Nakata Hideo's 1998 cinematic creation of the same name, Gore Verbinski adapted the terrifying plot for Western audiences in his 2002 counterpart. With the cross-cultural transition, certain aspects of the premise and characters were changed. I posit these differences are more than artistic reinterpretation, and are culturally significant. However, while certain facets of fear are culturally specific, the horror film serves as a universalizing tool of communication, surpassing cultural boundaries."],"dc:identifier":["https://digitalcommons.njit.edu/theses/399"],"dc:subject":["J-horror","Cross-cultural communication","Horror films","Technical and Professional Writing"],"dc:title":["J-Horror : A discourse in cross-cultural communication and cinematic hybridity"],"dc:type":["Thesis"],"thesis:degree_discipline":["Humanities"],"thesis:degree_name":["Master of Science in Professional and Technical Communication - (M.S.)"]},"updated_at":"2026-07-24T03:23:22Z"}