Ghosts and Ghosts in Japanese Movies of Oriental Ghost Films

Every culture has its own horror elements, such as zombies in Hong Kong movies, werewolves and vampires in foreign movies, and the horror elements in Japanese horror movies mostly appear in two forms, one is a ghost and the other is a ghost. In Japanese movies, there are many famous works with ghosts. Besides several works directly named "tales of mystery", ghosts have also appeared in the works of masters such as Kenji Mizoguchi and Akira Kurosawa. First of all, Kenji Mizoguchi's masterpiece "Tale of Rain and Moon" (1953) is impressive. It is based on Ueda Akinari's collection of classical strange novels "Tale of Rain and Moon" and is a work with the metaphorical structure of Matsutar? Kawaguchi joining the Order of Maupassant. In this film, there are two ghost scenes. First of all, when the male protagonist Tao Gongyuan Shiro (Masayuki Mori) is selling pottery, he meets a noble daughter Ruo Narrow (Machiko Kyō) and an old woman to order delivery, and a romantic and elegant love-hate plot is launched. This play depicts a hazy but brilliant atmosphere of the ghost mansion through the skillful hand of the famous photographer Miyagawa Kazuo, and the camera overlooks it. The characters move and adopt the form of energetic drama, and the combination of art and music creates a mysterious and mysterious world outside reality. This is the traditional beauty of Japanese style. Although it is a black-and-white work, it fully presents the enchanting and mysterious effect on the impression. This plot taken from The Sex of Snakes is actually a reversal of China's novel A Good Visit to the West Lake (that is, The Legend of the White Snake). However, if she appeared in the play, it was because she was a ghost who died after not living the sweetest erotic life. In order to fulfill her wish, she came to the world with a wish. The second ghost appeared near the end of the play, and Genshiro returned to his hometown. When he pushed open the broken door and found the empty house, he found his sad wife Miyagi (Tanaka Kinuyo) sitting alone by the fire to mend his clothes after a week of eye patrol. After serving him to change clothes, eat and go to bed, it was not until the villagers visited the next day that he realized that Miyagi had already died and his son had been missing for a long time, but his youngest son was on the night of his return home. At the end of the film, a shot runs to the mound with her son, and the camera gradually rises and pulls farther and farther, just like the ghost's mother safely leaves her relatives and takes off after completing the task. This ghost is to care for her husband and son, secretly protecting them until the father and son meet again, and then she leaves with peace of mind. The appearance of these two ghosts not only makes people feel terrible, but even makes readers feel warm, because they are the amulets of lucky men.

There have been ghosts in Kurosawa's films. In the trial scene of Rashomon in 195, the ghost of warrior Wu Hong did not appear, but possessed the witch (Ben Wen Zi) to show his anger and dissatisfaction. As we all know, the Spider's Nest in 1957 was adapted from Shakespeare's Macbeth. The three witches in the original work became "ghosts" in Kurosawa's film. The ghosts appeared twice in the play but showed different faces respectively. For the first time, it combined the mysterious atmosphere of "drama" and appeared as the spinning wife (Chieko Naniwa). A strange and mysterious momentum predicted the promotion of two generals (toshiro mifune and minoru chiaki), and the second ghost reappeared, showing her magical powers in an instant and changeable posture. These two ghost performances were not so much the transformation of the western witch's prophetic ability, but rather the disseminator of the "karma" (destiny) of the eastern ghosts, and even exerted the instigation power of ghost action. In 199, Dream was Kurosawa's dream and memoir in his later years. It was always divided into eight episodes. In Tunnel, ghosts appeared. When the company captain escaped from death and crossed the tunnel, he met his comrades who died in battle. These ghosts complained about the bitterness of the war, which moved people. These two films can be said to be "horror movies" different from the entertainment point of view, and their horror did not come from vision.

Masaki Kobayashi's tales of mystery (1964) is a Japanese ghost film that is familiar to the general audience, and it is also rated as a ghost film with artistic value, with four episodes. They are Black Hair, Snow Girl, Without Ear and Beauty, and In a Tea Bowl. Black Hair is about a samurai (Mikuni Rentaro) in Kyoto who abandoned his wife (Michiyo Aratama) to get ahead and married the daughter of an important official. After that, he couldn't stand the arrogance of his new wife, so he returned home to confess to his wife, who was still courteous and woke up the next day only to find out. The gentleness of this ghost wife lies in comparing the insolence of the new wife, and it is also a catalyst to urge the samurai to repent and find a seal.

In Snow Girl, the woodcutter was rescued by Snow Girl on a snowy night and vowed to keep this secret. Later, he met a beautiful woman, married and had children. Many years later, it was snowing heavily, and the woodcutter recalled the past and told his wife about this anecdote. I didn't want her to answer, "That's me! "Say that finish wife to disappear in the snow. This ghost aims to test the integrity of human beings.

Fang Yi without Ears depicts a famous storyteller who is taken to Pingjia cemetery by ghosts every night to sing "Tales of Pingjia". In order to save his life, the temple host ordered his disciples to read the scriptures all over his body, but he forgot to write them on his ears, so he only saw his ears when the ghosts came that night. In order to reply to Sir Alex Ferguson, he forced him to take his ear away, and Fang Yi also lost his ear. This group of ghosts of Pingjia indulged in the suffering of war every night. Fang Yi's singing relieved his sorrow a little, but the fact was of no help. Fang Yi finally achieved his career, but he also lost his ear.

In a Tea Bowl is about a samurai. One day, he saw an unknown samurai in a tea bowl, and he drank it without paying attention. Later, three servants of the samurai came to the door, but no matter how the samurai killed them, they could not be destroyed. However, this was only a part of a story written by an author (Osamu Takizawa). When the publisher visited, he found that the ghost of the author appeared in the tea. I don't know if this incredible plot can be called ghosts, but it is the most interesting, full of people's fantasies about the unknown and spiritual projections. This film doesn't have much Japanese thinking, but it has a deep projection of human nature. In addition, this work has made bold experiments in sound effect, art, color and even actor's performance, so that this work not only lacks the feeling of terror, but also brings the viewer into a rare aesthetic fantasy world.

when it comes to "tales of mystery", in the field of Japanese entertainment movies, we have to mention Kabuki's famous drama "Four Valleys of tales of mystery in Donghai Road". Japanese society is used to broadcasting ghost-related programs on the "Mid-Yuan Festival", and the film industry often performs ghost works on the "Pot Festival" to meet the occasion. This famous kabuki story is familiar to everyone in Japan. This story is basically about the ronin who wants to achieve something and marry a young wife, so he framed his apprentice with his friends, had an affair with his wife, and gave her poison to drink, which caused her face to look like a ghost and eventually both died. On his wedding night, the ghosts of his apprentice and his wife appeared one after another, causing his insanity, mistaking his newly married wife for the ghost of his dead wife and killing him, and finally it was inevitable for him. The details of these tales of mystery films have been somewhat deleted and changed, but their remorses are the same. Nevertheless, the entertainment intention of these films is obvious to all.