This article focuses on the four most significant Japanese Ringu movies, mapping out contemporary Japanese horror as a culturally-fostered response to the fear of chaos in the techno-centric orderly system. The representations of chaos, whether affecting spatial and temporal reality, psyche, or social structures can be seen in virtually every contemporary Japanese horror film, while technology re-emerges as a channel for the supernatural and a site of supernatural materialisation. Sadako Yamamura, Chaos personified, may serve as a perfect example of the above.
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