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Japanese Horror

Posted on May 28, 2025

The Whale God: On the Shores of Folk Horror

Guest Post

Kevin Cooney

Rich in motifs associated with folk horror- from collective derangement to debilitating superstitions- Daiei Motion Picture Company’s The Whale God (1962) depicts a village’s descent into madness in its quest to slay a deified cetacean known as Kujiragami, or the Whale God. Rather than fitting neatly into the folk horror genre, however, the film tells a different part of a folk horror story. The film shows the antecedent estranging events, supernatural or not, often left as background in other films. Unlike conventional folk horror portrayals of late-stage cults and rituals, The Whale God presents a community’s initial struggle and manifestation of social breakdown and collective estrangement, punctuated, as I contend, by a climax or “happening” that redefines the film as folk horror.

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Posted on August 24, 2015

Suicide Club (2002) and Noriko’s Dinner Table (2005): Decade Old Films Find New Relevance in the Digital Age

Gwen

Disclaimer: Suicide Club is super weird at times and by weird I mean weird! I literally had a moment of serious jaw dropping, like the first time I watched John Waters’ Pink Flamingos…but I digress. That being said, this film has become a cult classic in its own right and the meaning underlying the film still holds up extremely well today. Now on to Noriko’s Dinner Table (NDT), this prequel fills in necessary gaps but it plays out more like a three hour long drama. So if you are seeking gore or scares, NDT might not be for you. If you skip it, you will still get the gist of Suicide Club.

Aside of the intermittent strangeness, Suicide Club was way ahead of its time. The film investigates a series of suicides sweeping across the nation. In doing so it reveals what happens when there is a break down in connections between people. Both Suicide Club and Noriko’s Dinner Table focus particularly on the loss of connection between family members. In Suicide Club this is visible in the familial interactions for example when the children visibly go on watching television as their father tries to hold a family meeting. Later, this same father comes home and doesn’t even notice his child is completely covered in blood. Noriko’s Dinner Table takes this one step further when both daughters run away to Tokyo to live amongst rental families because their father never understood them. Over and again Noriko and her sister Yuka make it clear how disconnected they felt from their father.

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