Abstract
Dealing with the unstable (virtual) realities that are repeatedly constructed in the film Tag (2015), Sion Sono explores entirely new forms of amusement in the realm of transhumanism. In the following text, I will discuss the concept of ressentiment in light of a master-slave relationship between the gamer/fan and an objectified game character, meant to entertain the transhuman subject. From the perspective of critical theory, the film is further examined as a disturbing reflection of the gender issues in both Japanese and global media environments but read in contrast to the prevalent opinion of those critics who perceive it as misogynistic. Article received: January 10, 2022; Article accepted: February 1, 2022; Published online: April 15, 2022; Original scholarly article
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