Over the last two decades, Japanese filmmakers have produced some of the most important and innovative works of cinematic horror. At once visually arresting, philosophically complex, and politically charged, films by directors like Tsukamoto Shinya (Tetsuo: The Iron Man [1988] and Tetsuo II: Body Hammer [1992]), Sato Hisayasu (Muscle [1988] and Naked Blood [1995]) Kurosawa Kiyoshi (Cure [1997], Séance [2000], and Kaïro [2001]), Nakata Hideo (Ringu [1998], Ringu II [1999], and Dark Water [2002]), and Miike Takashi (Audition [1999] and Ichi the Killer [2001]) continually revisit and redefine the horror genre in both its Japanese and global contexts. In the process, these and other directors of contemporary Japanese horror film consistently contribute exciting and important new visions, from postmodern reworkings of traditional avenging spirit narratives to groundbreaking works of cinematic terror that position depictions of radical or 'monstrous' alterity/hybridity as metaphors for larger socio-political concerns, including shifting gender roles, reconsiderations of the importance of the extended family as a social institution, and reconceptualisations of the very notion of cultural and national boundaries.

In Japan's Reluctant Realism , Michael J. Green examines the adjustments of Japanese foreign policy in the decade since the end of the Cold War. Green presents case studies of China, the Korean peninsula, Russia and Central Asia, Southeast Asia, the international financial institutions, and multilateral forums (the United Nations, APEC, and the ARF). In each of these studies, Green considers Japanese objectives; the effectiveness of Japanese diplomacy in achieving those objectives; the domestic and exogenous pressures on policy-making; the degree of convergence or divergence with the United States in both strategy and implementation; and lessons for more effective US - Japan diplomatic cooperation in the future. As Green notes, its bilateral relationship with the United States is at the heart of Japan's foreign policy initiatives, and Japan therefore conducts foreign policy with one eye carefully on Washington. However, Green argues, it is time to recognize Japan as an independent actor in Northeast Asia, and to assess Japanese foreign policy in its own terms.

Observing the dramatic shift in world politics since the end of the Cold War, Peter J. Katzenstein argues that regions have become critical to contemporary world politics. This view is in stark contrast to those who focus on the purportedly stubborn persistence of the nation-state or the inevitable march of globalization. In detailed studies of technology and foreign investment, domestic and international security, and cultural diplomacy and popular culture, Katzenstein examines the changing regional dynamics of Europe and Asia, which are linked to the United States through Germany and Japan. Regions, Katzenstein contends, are interacting closely with an American imperium that combines territorial and non-territorial powers. Katzenstein argues that globalization and internationalization create open or porous regions. Regions may provide solutions to the contradictions between states and markets, security and insecurity, nationalism and cosmopolitanism. Embedded in the American imperium, regions are now central to world politics.

Sexuality, Maternity, and (Re)productive Futures explores how contemporary Japanese female speculative fiction writers have challenged historical inequalities of sex, gender difference, and family roles by imagining alternative worlds where sexes are fluid and childbearing crosses the boundaries of male/female, biological/bioengineered, and human/nonhuman.