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National Family Violence Survey, and is well versed to family violence studies through a life course perspective. Subsequently, she served as a project assistant for Prof. Straus, a founder of sociological studies of family violence. She obtained a doctorate from the University of New Hampshire at Durham under the direction of Professor Murray A. Written by five Japanese family sociologists who have identified various major sociocultural characteristics that either induce or suppress family violence in Japan, it is a valuable resource not only to scholars and students of the topic, but also to those specializing in sociology, psychology, anthropology and comparative family studies around the globe.įumie Kumagai, Ph.D., is Emeritus Professor of Sociology at Kyorin University, Tokyo, Japan. Furthermore, its reliance on the life course perspective enables readers to obtain a broader understanding of family violence in the country. In doing so, the book is the first of its kind to look at these different types of violence in Japanese families and simultaneously incorporate historical development of individuals and intergenerational factors. Following a comprehensive overview of family violence in Japan in both historical and contemporary contexts, it then goes on to define the extent and causes of child abuse, intimate partner violence, filial violence, and elder abuse. Aimed at an international audience, the authors adopt a life course perspective in presenting their research. Still, it’s refreshing to see a horror film based on adult anxieties: The terror of the baby cam can only be overcome by more terror.This book provides fresh sociological analyses on family violence in Japan. Ratliff lost me with the introduction of a child psychologist who makes house calls and snap diagnoses. But as Dad’s hair grows progressively wilder and his speech less coherent, so does the narrative. So far, so good-for all the craziness, Joshua is still based largely on the power of suggestion and caginess as to which character is actually having the breakdown. “Too bad that his mother is a big fat Jew!” Mom screams, introducing a bit of religious conflict that remains tantalizingly underexplored. Around the time Mom starts to hallucinate things coming through the ceiling, Grandma moves back in, announcing that Josh has found Jesus. What with the strange noises emanating from the empty apartment upstairs, it’s hard to tell who is the most disturbed member of the family- although it’s understandable that Dad freaks out at the fate of the pet dog. As she gets crazier, so does her son- resolving to give away all his toys and embalm his pet panda. Ratliff renders this all with a suitably queasy visual style, using a wide-angle lens to deform the apartment space and further maul Farmiga’s drawn features. Mom, who is already expressing her milk because of nursing difficulties, does not react well. This, just as the newbie goes on a five-day crying jag. Josh, who has a disquieting habit of just appearing, develops some strange nocturnal patterns, staying up all night watching home videos of his colicky baby self.
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Josh’s musical career peaks at a maliciously rendered private-school recital his rendition of “Twinkle Twinkle” goes clamorously atonal before passing into performance art of an ominously visceral nature.
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Young Josh is a compulsive piano-player, and his pounding at the keyboard sets the mood the way that “cool ghoul” John Zacherley did on the old TV show Chiller Theater. “How do you feel about your weird son?” Weirdness is compounded by the supporting in-laws: Mom’s bizarrely cheerful gay brother (Dallas Roberts) and Dad’s stridently born-again mother (Celia Weston). These parents are like kids themselves, while their nine-year-old son Joshua (Jacob Kogan) is a parody adult-stiff, unsmiling, always dressed in his private-school blazer and tie, curiously morbid, and alienated to the point of autism. Mom (Vera Farmiga) and Dad (Sam Rockwell) are both severely stressed-she’s a neurotic harridan, he’s a happy-go-lucky hysteric.
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And so it is with George Ratliff’s Joshua, a nifty psychological thriller-part Bad Seed, part Rosemary’s Baby-that deals in a manner both comic and creepy with the parental anxieties of a Manhattan haute yuppie family. The horror of the bourgeoisie can only be overcome by more horror.” So said the solemn hippie cannibals of Jean-Luc Godard’s Weekend.