2) Japanese Horror Cinema. Edited by Jay McRoy Сборник эссе с анализом исторического и культурного контекста: влияние театральных и литературных традиций, мстительные духи, атомная бомбардировка, быстрая индустриализация, гендер, отношения с западным фильмами ужасов и т.д.
…The genre of plays performed on the Kabuki stage is dictated by the seasons of the year: celebratory plays in early spring follow plays set in palaces or pleasure quarters; in the summer and early autumn, ghost and violent plays are popular, following the logic that the hot weather can be tempered with plays that ‘send chills down the backbones of the audience’...
Characteristic sequences in the more brutal Kabuki plays include scenes of torture, as well as korishiba (violent/murder scenes), self-mutilation and seppuku (suicide), and tachiwara (elaborate fight sequences). These aspects of the form establish a distinct quality in Kabuki that is known as zankoku no bi (‘aesthetic of cruelty’), which Samuel L. Leiter defines as ‘a highly aestheticized, even fantastical world where the inherent sadism is muted by artistic techniques’.
2) Japanese Horror Cinema. Edited by Jay McRoy Сборник эссе с анализом исторического и культурного контекста: влияние театральных и литературных традиций, мстительные духи, атомная бомбардировка, быстрая индустриализация, гендер, отношения с западным фильмами ужасов и т.д.
…The genre of plays performed on the Kabuki stage is dictated by the seasons of the year: celebratory plays in early spring follow plays set in palaces or pleasure quarters; in the summer and early autumn, ghost and violent plays are popular, following the logic that the hot weather can be tempered with plays that ‘send chills down the backbones of the audience’...
Characteristic sequences in the more brutal Kabuki plays include scenes of torture, as well as korishiba (violent/murder scenes), self-mutilation and seppuku (suicide), and tachiwara (elaborate fight sequences). These aspects of the form establish a distinct quality in Kabuki that is known as zankoku no bi (‘aesthetic of cruelty’), which Samuel L. Leiter defines as ‘a highly aestheticized, even fantastical world where the inherent sadism is muted by artistic techniques’.
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Andrey, a Russian entrepreneur living in Brazil who, fearing retaliation, asked that NPR not use his last name, said Telegram has become one of the few places Russians can access independent news about the war. The account, "War on Fakes," was created on February 24, the same day Russian President Vladimir Putin announced a "special military operation" and troops began invading Ukraine. The page is rife with disinformation, according to The Atlantic Council's Digital Forensic Research Lab, which studies digital extremism and published a report examining the channel. Pavel Durov, Telegram's CEO, is known as "the Russian Mark Zuckerberg," for co-founding VKontakte, which is Russian for "in touch," a Facebook imitator that became the country's most popular social networking site. Right now the digital security needs of Russians and Ukrainians are very different, and they lead to very different caveats about how to mitigate the risks associated with using Telegram. For Ukrainians in Ukraine, whose physical safety is at risk because they are in a war zone, digital security is probably not their highest priority. They may value access to news and communication with their loved ones over making sure that all of their communications are encrypted in such a manner that they are indecipherable to Telegram, its employees, or governments with court orders. Messages are not fully encrypted by default. That means the company could, in theory, access the content of the messages, or be forced to hand over the data at the request of a government.
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