Film Matters: Please tell us about your article that is being published in Film Matters.
Johanna Carter: “Translating a Monster: Motherhood and Horror Criteria in Ringu and The Ring” analyzes the shifting tonalities inherent in the cross-cultural process of monster adaptations. Since The Ring marks the boom of Asian-horror remakes in the US, my paper compares this influential remake with its original to better illustrate the difficulty of cultural translation and, more specifically, what is lost in this process. By default, the vengeful spirit of the onryō can’t convey the same message in a society with divergent gender politics. In my article, I detail how the cross-cultural changes inflicted on the “long-haired ghost girl” and the film’s female protagonist affect how each society views otherness, motherhood, and the criteria for an effective horror movie.
FM: What research and/or methodologies do you incorporate in your article?
JC: To support my claims, I used academic sources that: (1) made some of the same connections I wanted to discuss in my paper and (2) made surprising connections between the two films and the sociopolitical currents of the time. This I used as evidence, but, of course, I had my own insights as a horror film aficionado to rely on. My biggest hurdle was to shape that personal knowledge into something critical and rational, figuring out what elements led to my take on the movies using the scopes I’ve chosen.
FM: Describe the original context for/when writing this article while an undergraduate student.
JC: I originally wrote this article for one of my Literary Analysis classes at South Gate Creative Writing School. It was also the first academic paper I ever had to write in my college education while paying attention to all the rules in academia—at the same time as learning these rules. I remember our instructor being ecstatic about teaching our class how to write academically because she viewed the process as fun and engaging. She wasn’t wrong. Part of that, I think, is also because she encouraged us to write about the thing we are most passionate about, and that was movie analysis for me. It didn’t take me long in my research stage to go further down my “passion pipeline” and decide to tackle horror movie criticism. If I had to spend countless days (and nights) working on this paper, as my instructor said, I should at least have fun while at it. So I combined my love for horror films and monsters with feminist theory and the complex workings of cross-cultural adaptations. The rest, as they say, is history.
FM: What does your writing process look like?
JC: First, there needs to be excitement for the topic. It can range from personal enthusiasm to social exigency, but it needs to be something that captures my attention and goes with my passions. Then, I quickly turn to credible sources and research what other scholars have said on that topic—maybe I discover a new angle I never considered before, which sparks more enthusiasm for the article. This, in a way, is the fun part; it becomes hard to stop reading about the topic and very easy to go down rabbit holes. But I somehow manage every time to get back on track and proceed with my take on the material. I outline my ideas in a document, joggle with some favorite quotes from those accredited sources I just researched, and—once I feel confident enough that all ideas run smoothly and logically—I write the actual paper. Usually, I finish the initial draft in a couple of days and then I tinker with it until I’m pleased. Most importantly, before I submit it anywhere, I do another pass of edits. I like to let the “bun cook in the oven” before doing that final pass so that I get to view it with a fresh set of eyes to note any potential mishaps or to add something.
FM: How have your personal experiences shaped and influenced your writing?
JC: Writing, by default, is personal—even when academic. I am a fiction author, so creative writing has always felt liberating. Surprisingly, academic writing is the same because it allows me to critically acknowledge why certain techniques work or not on people. I dissect and analyze the texts that had a powerful effect on me (which includes everything from written works to visual media), and—via the academic framework—I come to understand why. As a whole, this is a powerful reflective endeavor that comes instinctively to me.
FM: What are your methods for finding diverse and relevant sources?
JC: Google Scholar is a good online resource for finding relevant papers, but some online repositories can also provide those accredited sources (e.g., JSTOR). Because I decided to submit my scholarly essays to journals, now I also know to browse through those journals for diverse sources. Film Matters is such a source, with thoughtful essays striving to be more inclusive regarding diverse voices.
FM: Why is including marginalized voices in research important to you?
JC: How could it not be important? All voices deserve to be heard because the insight isn’t dependent on cultural background. I love that times are changing, and marginalized voices in academia are given their rightful place at the table. But we’re not completely there yet. It’s still difficult to research those unique perspectives that were quieted for a long time, but the tide is shifting. My article deals with two opposing cultures, so I tried to strike a balance in my research for diverse voices, including nationality and gender. I fully appreciated the editorial team at Film Matters, who thoughtfully gave me feedback on whether I achieved that balance or if I should do more research in that regard.
FM: What aspects of the writing process were most challenging? Why?
JC: When I initially wrote the paper, everything was a bit challenging. From picking a subject that was “interesting enough” to researching and writing my interpretation of it supported, of course, with evidence. Since this was my first experience with scholarly writing, there were numerous times when I felt a bit lost, questioning whether I was going too off-track or not off-track enough. But challenging things are also the most fun things to tackle, so, in the end, the result was something I was proud of while expanding on my perceived potential. Now I know what the process entails and how to work with it so that any challenging aspects aren’t so insurmountable but actually quite manageable.
FM: What’s a resistance point you hit in your writing, and how did you move past it?
JC: The resistance didn’t come from the subject material but from my inexperience while writing the paper. There were times when I felt like I wasn’t the right person to talk about this topic, that I didn’t have the expertise and I was, in fact, inadequate. However, my instructor’s enthusiasm for my research topic and her complete faith in my academic prowess pushed me to mute that sabotaging voice and keep writing until the paper was done. Indeed, having a tribe who believes in you and gives you truthful and insightful critique is the recipe for success, i.e., getting you to where you want to be.
FM: What do you enjoy most about your article?
JC: By far, the shot and mise-en-scene analysis portion for both horror films. This is what I usually like to do regularly with movies and also what led to my chosen topic and article structure, so of course I feel very passionately about it. Everything else I discovered from that (i.e., the total and deliberate displacement of gender politics, the opposing motherhood portrayals, and the diverging cultural expectations) is tied for a close second.
FM: How has the Film Matters editorial and publication process impacted the development/evolution of your article?
JC: Having peers review my article has definitely given me those fresh sets of eyes to revise my essay and beat it into (a more professional) shape. Once you get accustomed to something, it becomes hard to see how you could further improve it, and this is precisely what the editorial team at Film Matters did for me. I became aware of things relevant to my topic I hadn’t considered at the time of writing it, both regarding the actual essay and the sources. Something I already knew from fiction writing and now know also applies to academic writing is that feedback is always helpful. And if you happen to have targeted and in-depth feedback, you can call yourself lucky.
FM: What audience do you hope to reach with your Film Matters article and/or what impact do you hope it has on the field of film studies?
JC: I would definitely hope my article reaches all the people—high schoolers, undergraduates, graduates, scholars—interested, even a tiny bit, in the topics I covered and in my findings. I went on this journey with my article thinking I would discover one thing and then reached the end with a different and surprising conclusion. My hope is that everyone intrigued enough to read my article will experience that same “aha” moment of revelation and feel fired up to go into cinematic rabbit holes. Regarding the field of film studies, I view my article as bringing something new to the table in all the sea of J-horror and remakes comparative essays, maybe a missing puzzle piece for those feminist angles.
FM: How has your department and/or institution supported your work in film and media?
JC: South Gate Creative Writing School (SGS for short) has always supported me in all my creative and academic endeavors. SGS is a place for passionate people, so my deep-seated love for film and media was encouraged at every turn. Kind and insightful instructors were always available to offer me exactly what I needed to achieve something. I know this is not the norm with every school institution, so I sincerely appreciate all that academic kindness.
FM: How has your faculty mentor fostered your advancement as a film scholar?
JC: My instructor for Literary Analysis, LeAnne Kline Christiansen, has been a tremendously helpful force that pushed me in all the right areas to better research my passion for film. Her excitement for my topic and funny remarks inserted in my feedback alleviated even the potential stress I might’ve had when doing something completely new at the time. She kept me going, made me build that writing process that I now use every time, and kept me accountable so that I finished my paper. She even pushed me to submit it to journals, and so, in part, I have her to thank for even doing this.
FM: What advice do you have for undergraduate film and media scholars?
JC: What my instructor (LeAnne) told me when I first started: get excited. We all have things we’re excited about, so delve deeper into that. Understand why you feel that way, and, who knows, maybe you’ll discover some surprising things along the way. On that note, also keep going. It’s so easy to beat ourselves down, especially if the outcome isn’t what we hoped for. But keep striving for those things you’re passionate about, and you’ll find your niche. It’s inevitable and part of the process.
FM: What are your future plans?
JC: As a recent graduate, I plan to expand my perceived potential even further and apply for an MFA in Visual Effects. This isn’t to say I don’t intend to continue to write analytically about films and other narratives because I still have plans for that. But now I am also ready to get more of my writing out there, publish a novel, potentially direct a feature, and do more of the things I’ve done in my four years at SGS.
Author Biography
Johanna Carter is an author and film director. She recently earned her BFA from South Gate Creative Writing School, where she studied popular genre fiction, film, and TV. Her fiction has appeared in The Horror Zine, and her short film Photo of Us has been selected by two festivals.
