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Audition – Takashi Miike , 2000

Audition – Takashi Miike , 2000. Miike : “There are no ghosts or monsters, nothing supernatural in it, so I’m not sure why critics have labelled it as ‘horror.’ There’s nothing that couldn’t have happened in real life. I consider it a love story—it’s about two people trying to connect.”.

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Audition – Takashi Miike , 2000

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  1. Audition – Takashi Miike, 2000

  2. Miike: “There are no ghosts or monsters, nothing supernatural in it,so I’m not sure why critics have labelled it as ‘horror.’ There’snothing that couldn’t have happened in real life. I consider ita love story—it’s about two people trying to connect.”

  3. “…for the first 50 minutes, nothing happens. I did thaton purpose. The idea was to lull the audience into thinking they were safe, then to just shake them. It’s an old storytelling trick. I wanted to just keep building the suspense, but you can only do that for so long.” Again, the faintest trace of a grin. “I mean, you have to give them… something.”

  4. The Collapse of Narrative Stability What do we lose at this point of the film? What do we gain? What factors may influence our response as spectators?

  5. The climactic scenes What prompts our response/s? • Triggering of innate response to alarm and distress? (Instinct) • A Pavlovian reaction to generic ‘triggers’? (Conditioned reflex) • Misrecognition/Central imagining?

  6. The ontological distance of cinema Ontology: dealing with the nature of being How does The medium of cinema position us? (viewing situation) The given film itself position us? (through cinematic devices) Do we accept or reject that position?

  7. Julian Hanich: Cinematic Emotion in the Horror Film and Thrillers • Do we look into the film, away from or onto it? • What factors determine our response? • What does this imply about our engagement with the horror genre?

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