Introduction At first glance, Koji Shiraishi’s Shirome (2010) looks like a joke. It opens not with dread or blood or ghostly imagery, but with rehearsal footage of a real-life J-pop idol group (Momoiro Clover Z) practicing choreography, laughing with one another, and nervously talking about their dreams of one day performing on Kōhaku Uta Gassen,

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