Abstract
Horror films are defined to a large extent by the opposition between “collective” and “mutated alternative” bodies (Parris 3). Hideo Nakata’s Ringu, and Gore Verbinski’s remake The Ring cast this opposition within a transnational landscape that enables horror both to encircle the globe, and to invade the home. Honisch uses a Disability Studies lens to explore the transnational horror in Ringu and The Ring, arguing that the opposition identified by Parris is between a normatively able body, and one that is both disabled and disabling. He analyzes how both films break apart conventional distinctions between music, sound, and noise, showing how the ensuing sensory chaos weakens the viewer’s own identification with a normative body.
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