This paper explores three Japanese vampire films directed by Michio Yamamoto for Toho Studios, Chi o suu ningyo (Legacy of Dracula 1970), Chio suu me (Lake of Dracula 1971), and Chi o suu bara (Evil of Dracula 1974). These films raise interesting issues about the international nature
of horror production during this period, and, in particular, the ways in which Japanese cinema incorporates generic conventions developed in the West. The paper identifies indeterminate qualities within the films and argues that this makes it difficult to place them definitively within either
a national or an international context. It is suggested that accounts of horror would benefit from taking fuller account of the playful, improvisatory elements evident not just within Yamamoto’s work but more widely in the genre.
Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.