Profile picture of Steven Brown

Steven Brown

Professor of Comparative Literature
Asian Studies, Comics and Cartoon Studies, Comparative Literature
Phone: 541-346-4016
Office: 354 PLC
Research Interests: posthumanism, horror cinema, Surrealist film and animation, sound design in film, Japanese popular culture, and critical theory.


B.A., 1987, Summa Cum Laude, East Asian Studies and Classics, University of Illinois
M.A., 1988, East Asian Studies, Stanford University
Ph.D., 1994, Comparative Literature, Stanford University


Steven T. Brown received his Ph.D. from the Department of Comparative Literature at Stanford University. He is the author of Japanese Horror and the Transnational Cinema of Sensations (Palgrave Macmillan, 2018), Tokyo Cyberpunk: Posthumanism in Japanese Visual Culture (Palgrave Macmillan, 2010) and Theatricalities of Power: The Cultural Politics of Noh (Stanford University Press, 2001). In addition, Prof. Brown is the editor of Cinema Anime (Palgrave Macmillan, 2006) and co-editor of Performing Japanese Women (2002), a special issue of the feminist journal Women & Performance. He has published articles in journals ranging from the Harvard Journal of Asiatic Studies, Mechademia, Horror Studies, Canadian Review of Comparative Literature, and New Nietzsche Studies. 

In his most recent book, Japanese Horror and the Transnational Cinema of Sensations, Prof. Brown undertakes a critical reassessment of Japanese horror cinema by resituating J-horror’s transnational hybridity in relation to the larger networks of global cultural flows, including major and minor areas of influence, intermedial intersections, and cross-fertilizations. In so doing, Prof. Brown places Japanese horror in dialogue not only with notable exemplars from world horror cinema, but also in relation to the transnational intermedial flows that connect Japanese horror to non-Japanese works of art, literature, folklore, and music. Neither a conventional film history nor simply a thematic survey of Japanese horror cinema, what this study offers instead is transnational analysis of selected films from new angles that shed light on previously ignored aspects of the genre, including sound design, framing techniques, and lighting, as well as the slow attack and long release times of J-horror’s slow-burn style, which have contributed significantly to the development of its dread-filled cinema of sensations.

In Tokyo Cyberpunk: Posthumanism in Japanese Visual Culture, Prof. Brown engages some of the most thought-provoking anime, manga, and films in the history of Japanese science fiction as transnational sites of contestation for competing discourses, philosophical crises, and socioeconomic fault lines.  More specifically, he situates Japanese popular culture in terms of the issues raised by posthumanism (from the absent presence of cell phone usage to the status of virtual online identities to video game addiction), Japanese socioeconomic problems (from the breakdown of the family to youth violence to the social withdrawal known as “hikikomori”), as well as globalization and advanced capitalism. Through an investigation into how the questions and issues of posthumanism are frequently broached in works of Japanese popular culture to explore new possibilities of existence at the intersection of different forms of intelligence, corporeality, and data-processing, Tokyo Cyberpunk attempts to destabilize our assumptions about what it means to be human in a posthuman world and how we might relate to all the intelligent machines with which we increasingly share the world. 

Prof. Brown's edited collection, Cinema Anime: Critical Engagements with Japanese Animation, charts the terrain of contemporary Japanese animated film, one of the most explosive forms of visual culture to emerge at the crossroads of transnational cultural production in the last twenty-five years. Cinema Anime offers bold and insightful engagements with anime’s shifting negotiations with gender identity, anxieties about body mutation and posthumanity, and the asymmetry between two-dimensional cel animation and three-dimensional digital cinema.  The contributors to Cinema Anime dismantle the distinction between “high” and “low” culture and offer compelling arguments for the value and importance of critical scholarship on popular cultural flows in the transnational spaces of translation from the local to the global.



Staging Contingency: The Historicity of Chance in Greek Tragedy and Japanese Noh Drama (Thomas Hare, director)


Japanese Horror and the Transnational Cinema of Sensations (Palgrave Macmillan, 2018).

Tokyo Cyberpunk: Posthumanism in Japanese Visual Culture (New York: Palgrave Macmillan Press, 2010).

Theatricalities of Power:  The Cultural Politics of Noh (Stanford, Calif.:  Stanford University Press, 2001).  

Books (Edited)

Cinema Anime: Critical Engagements with Japanese Animation (New York: Palgrave Macmillan Press, 2006; paperback reprint, 2008).  

Performing Japanese Women, a special issue of Women & Performance vol. 12, no. 1, issue 23 (2002).


"Ambient Horror: From Sonic Palimpsests to Haptic Sonority in the Cinema of Kurosawa Kiyoshi,"  Horror Studies vol. 7, no. 2 (Autumn 2016): 253-273.

"Machinic Desires:  Hans Bellmer's Dolls and the Technological Uncanny inGhost in the Shell 2: Innocence," Mechademia 3 (2008): 222-53. 

"Screening Anime," in Cinema Anime: Critical Engagements with Japanese Animation, ed. Steven T. Brown (New York: Palgrave Macmillan Press, 2006), 1-19.

"Ominameshi and the Politics of Subjection," in Ominameshi:  A Flower Viewed from Many Directions, ed. Mae Smethurst (Ithaca, N.Y.: Cornell University East Asia Program, 2003), 115-34. 

"Nietzsche and the Biopolitics of Art," New Nietzsche Studies 5:1/2 (Spring/Summer 2002):  57-71. 

"Other Histories of Japanese Performance," in Performing Japanese Women, eds. Steven T. Brown and Sara Jansen, a special issue of Women and Performance 12, no. 1, issue 23 (2002).

"The Digital Literary:  Electronic Phrases for the Post-Gutenberg Age," inThe Future of Literary Studies, a special issue of Canadian Review of Comparative Literature 26.3-4 (2001):  61-7.  Reprinted in Library of the Canadian Review of Comparative Literature, vol. 9. 

"From Woman Warrior to Peripatetic Entertainer:  The Multiple Histories of Tomoe," Harvard Journal of Asiatic Studies 58.1 (1998):  183-99. 

"Staging Female Suicide on Otokoyama:  New Historicist Readings of Power and Gender in the Noh Theater," in The New Historicism and Japanese Literary Studies, Proceedings of the Midwest Association for Japanese Literary Studies 4 (Summer 1998):  120-37. 

"Theatricalities of Power:  New Historicist Readings of Japanese Noh Drama," in Revisionism in Japanese Literary Studies, Proceedings of the Midwest Association for Japanese Literary Studies 2 (Summer 1996):  156-87.  "Aesthetics as 'Applied Physiology':  Nietzsche and the Logic of Degeneration in Art," Vanishing Point:  Studies in Comparative Literature 1 (1994):  127-43. 

"Zur Entstehungsgeschichte der japanischen Schrift" (Towards the History of the Emergence of Japanese Writing), in Schrift, eds. Hans Ulrich Gumbrecht and K. Ludwig Pfeiffer (Munich:  Wilhelm Fink Verlag, 1994), 183-90. 

"Im Reich der leeren Zeichen:  Amerikas Japanbilder sind postmoderne Projektionen" (In the Empire of the Empty Sign:  American Figurations of Japan are Postmodern Projections), Frankfurter Allgemeine Zeitung, October 4, 1990, Geisteswissenschaften, 1-2.