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DISC 2 & 3 – JU-ON: THE GRUDGE (4K ULTRA HD BLU-RAY / BLU-RAY)
The quintessential J-horror series make its Blu-ray debut with a brand new 4K restoration of Ju-On The Grudge and a wealth of new and archival extras, including Shimizu s two The Curse straight-to-video precursors previously unreleased outside Japan and the White Ghost Black Ghost diptych of tales unfolding within the same terrifying universe. The polyphony of these voices, images, and incantations offers an opportunity for the reader to leave the confines of their own narrative for a moment, and to see the world anew.
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Spells in the Present Tense and the Transformative Power of the Occult
On Halloween, the cavernous tunnels of the Deadhouse, a winding crypt-like space in the underground depths of Somerset House thronged with those gathered to celebrate the launch of Ignota Press. The rough brick walls illuminated purple, atmospheric music from DJs Lia Mouse and TTB, and an intoxicating heady aroma of incense filled the corridors. Founded by Sarah Shin and Ben Vickers, Ignota derives its name from the mystic Hildegard of Bingen’s lingua ignota (unknown language), with the aim of defining it as one ‘that makes possible the reimagining and re-enchantment of the world around us’ through books and events that traverse poetry, technology, and speculative mysticism. Their inaugural publication is the anthology: Spells: 21st-Century Occult Poetry, edited by Shin with Rebecca Tamás, which brings together 36 rising and established voices across 160 pages to explore themes of ‘justice, selfhood, and the transformative power of the occult.’
Spells: 21st Century Occult Poetry, 2018, book cover. Courtesy: Ignota Press
The launch event included readings from Spells by poets Amy Key, Daisy Lafarge (who also noted that Hildegard – a medieval nun, mystic, and philosopher – was the first woman to pen a description of female pleasure and orgasm), Rebecca Perry, and ‘Bhanu Kapil’s spectre’. Kapil is a poet and practitioner who works with transcendent practices and healing magic, often translating historic rituals to contemporary spaces. ‘I think of Joanna Macy's “work that reconnects” and the way that ritual allows participants – readers? writers? – to locate themselves “at a point outside of time.” Beyond time,” she wrote to me, ‘And from that place, to remember – in communal ways, non-verbal ways – what it was like to live on the earth.’
The evening programme also centred around ‘NIGREDO’: a trance-like ceremony that involved moments of speech, singing, and the sound of the gong, devised and led by musician Nicole Bettencourt Coelho. In our exchange, she cited Greco-Egyptian traditions, ceremonial ritual, and astronomical movement as influences, expressing how magical thinking is the ‘point at which all things intersect’. Rituals operate as a celebration of liminal space – often a communion between the past and the future – and a blurring of spiritual and psychic boundaries, by deconstructing consciousness and an individual sense of self. ‘Ritual is not only about attaining something,’ she continued, ‘it is also a means of escaping existing narratives. Finding the pulse that exists in all living things. The raw vitality that every human being shares as a uniting principle.’ Or, as Francesca Lisette writes in ‘Ecstasy (Dispersal),’ ‘Each reading is a ritual. It is also a performance … the body is more than a frame. It is a vibration.’
Spells: 21st Century Occult Poetry launch party, 2018. Courtesy: Ralph Pritchard
This vibrating energy and raw vitality is a guiding force throughout the pages of Spells. The anthology seeks to encourage societal and spiritual transformation, focusing on how the occult (hidden or occluded knowledge) has offered survival within the oppressions of racist capitalist patriarchy over centuries. Survival is a radical act, with magical potential, as Jen Calleja’s ‘The Gift’ states: your intention must always be to save your own life.’ Talking about her editorial vision, Shin notes, ‘we consider occult poetics as providing a pluralistic magical language; one capable of producing metaphors and symbols that can hold the contradictions of trauma, identity, gender, sexuality and kinship.’ Poetry in the anthology is conceived as a magical discourse with talismanic properties, something to hold close in difficult times, and offering both healing and liberation. ‘Following #MeToo’s revelations of the enormity of rape culture,’ Shin continued, ‘the esoteric is becoming visible in the popular imagination as a sacred space away from everyday experience of sexualised violence and harassment.’
Lafarge agreed, ‘if there is a current ‘generational’ interest in the mystical, its motivations are ethical, existential, and tactical, during carnivalesque world politics, environmental collapse, and the rise of the Right. The identification with occult ways of being isn’t so much escapism or self-indulgence as an alternative to total despond, depression, and anomie.’
In their introduction to the anthology, ‘The Broken Open’, the writer and activist So Mayer expands further on Shin and Tamás’ notion of poetics as an enchanted discourse: ‘This isn’t about God making the world with the Word. It’s about the witches who’ve been remaking the world, unmaking the mess he made … To be a witch, then, is to know words … Make no mistake: when we encounter such voices – feminist, queer, decolonial, dis/abled – there is magic at play beyond the ordinary.’
Moongate. Courtesy: Lando and Optigram
These spell-poems work together to forge a space of collective care, vulnerability, and generous sense of feeling. In ‘Camisado’, CAConrad writes, ‘poetry is the opposite of escape / but makes this world endurable / how the smallest puddle / reflects the entire sky’. These words iterate Mayer’s invocation of poems that ‘reorder [history], reorganise it into new lines that reveal the obscured … slow us down, dance us to their rhythm, turn time from a line to a circle’. The domestic and the quotidian are often cast in new light: shrines are built in bathrooms, or attention is paid to quieter moments of self-care and preservation, through cooking, on buses, making lists, watching YouTube.
Spells opens with Kaveh Akbar’s prayer for self-love – ‘my gurgling internal devotion / to myself’ – and throughout the publication, this desire for selfhood runs throughout. As Kayo Chingonyi’s incantation later puts it: ‘Did no one tell you / naming is a magical act / words giving shape / to life, life revivified / by utterance, / so long as proper care / is taken to pronounce / the words correctly / thereby completing the spell?’ To read this collection, and to conjure these poetic spirits and listen to what they have to say, is another kind of ritual. The polyphony of these voices, images, and incantations offers an opportunity for the reader to leave the confines of their own narrative for a moment, and to see the world anew.
Main image: Spells: 21st Century Occult Poetry launch party, 2018. Courtesy: Ralph Pritchard
What is similar about all these films and television series is the use of the supernatural presence of the “Onryo” to trigger fear into the audience's heart. In Japanese mythology, an “Onryo” is a “Reikon” (spirit) of a person whose death was either unnatural, traumatic or from someone who had not received their last rights. Often these spirits are born out of acts of corrosive jealousy or crimes of passion (O’Sullivan). The most famous Onryo story comes from the 1825 play by Yotsuya Kaidan, which is a multilayered revenge tale of disfigured Oiwa who is seeking vengeance against her samurai husband who murdered her. She is depicted as having a distorted face, long black hair, a white funeral gown and regularly seen glowing (O’Sullivan). These wrathful spirits are driven by the desire to seek vengeance for a perceived wrong and enact it on anyone or anything it encounters. Their acts of vengeance are like food and they prefer to let the subject(s) of their hatred suffer for long periods of time --- they are all about lifelong torment (Matsuyama). The Onryo’s power can influence the environment around them, often becoming not only a curse on the place but the people who come into contact with it. Their vengeance is like a contagious disease that is more devastating than that of a “regular ghost” and the only way to appease the Onryo is to grant it a level of justice (Matsuyama). However, how can one determine if that level of justice is enough for the horrific way in which someone died? For the trauma that is impacted on their loved ones and families? Can vengeance ever be satisfied? The answer is no, and this is what the film franchise Ju-On explores.
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Reviews for "Sarah Silverman's Transformative Experience with Jexus"
1. John - ★☆☆☆☆ - This show was a complete disappointment. I've always been a fan of Sarah Silverman's humor, but "Jexus is magic" fell flat for me. The jokes were predictable, repetitive, and lacked any sort of originality. It seemed like Silverman was relying too heavily on shock value, rather than delivering clever and thought-provoking humor. Overall, I was left feeling underwhelmed and unamused.
2. Emily - ★★☆☆☆ - I had high expectations for "Jexus is magic" considering Sarah Silverman's previous comedic work. However, I found this show to be a major letdown. While there were a few moments of laughter, most of the jokes were crass and offensive without any real substance. It seemed like Silverman was trying too hard to shock the audience, rather than relying on clever punchlines or witty observations. I wouldn't recommend this show to anyone looking for intelligent humor.
3. Michael - ★★☆☆☆ - As a fan of Sarah Silverman's earlier comedy specials, I was excited to watch "Jexus is magic". Unfortunately, it didn't live up to my expectations. The majority of the jokes felt forced and lacked the wit that Silverman is known for. It seemed like she was trying too hard to be controversial, resulting in humor that felt forced and unoriginal. While there were a few laughs here and there, overall, I found the show to be underwhelming and not worth the hype.
4. Megan - ★☆☆☆☆ - I couldn't even make it through the entire show. "Jexus is magic" was a complete mess. The humor was tasteless and offensive, without any redeeming qualities. It felt like Silverman was trying too hard to shock the audience and be edgy, but it just came across as desperate and forced. I found myself cringing more than laughing, and I will definitely not be recommending this to anyone. Save your time and skip this one.