I hereby grant to NC State University or its agents the non-exclusive license to archive and make accessible, under the conditions specified below, my thesis, dissertation, or project report in whole or in part in all forms of media, now or hereafter known. I certify that the version I submitted is the same as that approved by my advisory committee. I hereby certify that, if appropriate, I have obtained and attached hereto a written permission statement from the owner(s) of each third party copyrighted matter to be included in my thesis, dissertation, or project report, allowing distribution as specified below. An analysis of both films, however, does illuminate the pervasive, yet complex, presence of the uncanny in contemporary pop culture. Overall, there is not a significant difference in the rendering of the uncanny in Ring and Ringu.

The films unify their internal rendering of the uncanny with their metatextual (and commercial) behavior with the gaze, an aspect of both films that implicates the viewer in their propagation of the uncanny and the film franchise. The films differ slightly in their presentation of uncanny sound and visual elements: Ringu relies primarily on sound and characters' internal experience to produce the uncanny, whereas Ring focuses on the visual and characters' external experience. There is no significant difference in the films' rendering of the uncanny through narrative. Within the narrative of both films, the uncanny is manifested through extended use of the doppelganger and repetition. Furthermore, I have explored the social, historical, and cultural underpinnings of Suzuki's original novel and its path to Japanese and eventually American theatres. Through a brief exploration of the historical evolution of the idea of the uncanny and the various critical cruxes surrounding it, I have developed six working characteristics of the uncanny as a base for my analysis of Ringu and Ring. This thesis explores a contemporary definition of the uncanny as manifested through two film interpretations (Ringu and Ring) of the same source material, a novel titled Ringu by Koji Suzuki.

The uncanny is a ubiquitous presence 21st century American and abroad, and it provides a useful metaphor for understanding the implications of some of the conventions of post-modernism.

In the last few decades, interest in the uncanny in the body of literary theory has surged. Show simple item record dc.contributor.advisor

Koji suzuki ringu