Meisterdetektiv L steht vor seiner ultimativen Herausforderung: Eine Gruppe von fanatischen Bio-Terroristen will die Weltbevölkerung ausrotten, um die Menschheit anschließend aus nur wenigen Auserwählten wiederauferstehen zu lassen. Als Mittel zur Umsetzung dieses Plans sollen ein tödliches Virus und ein passendes Gegenmittel dienen. Als L von den Terrorplänen erfährt, ist er fest entschlossen, diese um jeden Preis zu vereiteln. Ein rasantes Katz-und-Maus-Spiel beginnt, bei dem der Jäger bald selbst zum Gejagten wird.

From Faust (1926) to The Babadook (2014), books have been featured in horror films as warnings, gateways, prisons and manifestations of the monstrous. Ancient grimoires such as the Necronomicon serve as timeless vessels of knowledge beyond human comprehension, while runes, summoning diaries, and spell books offer their readers access to the powers of the supernatural--but at what cost? This collection of new essays examines nearly a century of genre horror in which on-screen texts drive and shape their narratives, sometimes unnoticed. The contributors explore American films like The Evil Dead (1981), The Prophecy (1995) and It Follows (2014), as well as such international films as Eric Valette's Malefique (2002), Paco Cabeza's The Appeared (2007) and Lucio Fulci's The Beyond (1981).

"Prepare for a sampling of Japanese ghosts and spirits, from sources that include the worlds oldest novel, the urban legends of contemporary Japanese schoolchildren, movies both classic and modern, anime, manga, and more." For hundreds of years Japan has lived in a reality consisting of the real world and the spirit world; sometimes the wall between the two worlds gets thin enough for spirits to cross over. In such a reality, ghost stories have been popular for centuries. Patrick Drazen, author of "Anime Explosion", looks at these stories: old and new, scary or funny or sad, looking at common themes and the reasons for their popularity. This book uses one Japanese ghost story tradition: the "hyaku monogatari" (hundred stories). In the old tradition, people tell each other one hundred ghost stories in one sitting. These hundred tales run from folklore to cartoons, but all are designed to send chills up the spine ...

Today’s convergent media environment offers unprecedented opportunities for sourcing and disseminating previously obscure popular culture material from Japan. However, this presents concerns regarding copyright, ratings and exposure to potentially illegal content which are serious problems for those teaching and researching about Japan. Despite young people’s enthusiasm for Japanese popular culture, these concerns spark debate about whether it can be judged harmful for youth audiences and could therefore herald the end of ‘cool Japan’. This collection brings together Japan specialists in order to identify key challenges in using Japanese popular culture materials in research and teaching. It addresses issues such as the availability of unofficially translated and distributed Japanese material; the emphasis on adult-themes, violence, sexual scenes and under-age characters; and the discrepancies in legislation and ratings systems across the world. Considering how these issues affect researchers, teachers, students and fans in the US, Canada, Australia, China, Japan and elsewhere in Asia, the contributors discuss the different ways in which academic and fan practices are challenged by local regulations. Illustrating from personal experience the sometimes fraught nature of teaching about ‘cool Japan’, they suggest ways in which Japanese Studies as a discipline needs to develop clearer guidelines for teaching and research, especially for new scholars entering the field. As the first collection to identify some of the real problems faced by teachers and researchers of Japanese popular culture as well as the students over whom they have a duty of care, this book will be of great interest to students and scholars of Japanese Studies and Cultural Studies.