<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Kaidan - vo.rs</title><link>https://vo.rs/tags/kaidan/</link><description>Latest from the Kaidan desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Tue, 02 Sep 2025 13:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/kaidan/" rel="self" type="application/rss+xml"/><item><title>Japanese Horror: The Essential Ten</title><link>https://vo.rs/screen/japanese-horror-the-essential-ten/</link><description>&lt;p&gt;Western horror tends to end with the monster dealt with. Japanese horror rarely offers that comfort. Its deepest tradition is the &lt;em&gt;kaidan&lt;/em&gt;, the ghost story, and the ghost in a kaidan is usually a wronged woman or a broken promise coming back to be settled, which means the dread is moral before it is supernatural. You cannot shoot the vengeful dead, because they are already owed something. That single idea runs from the painted theatre of the 1960s through the videotape panic of the late 1990s and out the other side into the mockumentaries of the 2000s, and it is why the tradition holds together so well across forty years and three completely different filmmaking economies.&lt;/p&gt;</description><pubDate>Tue, 02 Sep 2025 13:00:00 +0000</pubDate></item></channel></rss>