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9th Global Conference Monday 10th March - Thursday 13th March
2008 Conference Programme, Abstracts and Papers Session 1: “…and the Terrible, Horrible, No Good, VERY BAD Hair Day!”
In his writings on Japan, Lafcadio Hearn points out that ‘The myth of Medusa has many a counterpart in Japanese folk-lore’, as in the beautiful young woman whose hair turns into serpents at night or the hair of the wife and the concubine of Kato Sayemon Shigenji which at night turn ‘into vipers, writhing together and hissing and biting.’ (2006: 44). Hair in Japanese religion is ‘at once attractive and frightening, desirable and potentially dangerous’ (Ebersole, 1998: 78). With the potential to be possessed by malevolent kami (spirits), it is little surprise that disorderly and dangerous hair, which possesses the power to attack and kill the living, provides a source of horror in Japanese cinema and is one of its most identifiable tropes. While, until recently, censorship of female pubic hair functioned to ‘construct and circulate […] an ideology of male dominance (Allison, 1998: 214), unbound and embodied female hair subverts such ideology and instead functions as a mark of insurrection against traditional gender categories which construct woman as Other in terms of respectability and filial duty. This paper examines the use of hair symbolism as a mode of feminine/female protest in Japanese horror cinema with reference to three films: Kaidan (Kwaidan, Kobayashi: 1964), Miike’s One Missed Call (Chakushin ari: 2003), and Apartment 1303 (Oikawa: 2007). Wanton Women and Wicked Witches: The Stunning Hair of
Pre-Raphaelite Women No abstract is presently available Christ the Barber: Hair as Virtue and Vice in Paulinus of Nola No abstract is presently available |
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