Horror to the Extreme: Changing Boundaries in Asian Cinema (TransAsia: Screen Cultures)
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This book compares production and consumption of Asian horror cinemas in different national contexts and their multidirectional dialogues with Hollywood and neighboring Asian cultures.
jiangshi or hopping vampire, which Inner Senses and the Changing Face of Hong Kong Horror Cinema 61 evokes the supernatural martial arts horror comedies of the 1980s one of which, Chinese Ghost Story (Sinnui yauwan, Ching Siu-Tung, 1987) starred Leslie Cheung. Next, he shows them a picture of the Headless Horseman, whose appearance in Sleepy Hollow (Tim Burton, 1999) serves as an example of modern high-tech Hollywood special effects-driven horror cinema. Finally, he shows them an image of
dialect, and switching between Mandarin, Thai, and Mun and Wah’s more accustomed Cantonese continues throughout the Thailand sequence. This emphasis on multilinguality points to another distinctive and central theme in The Eye which links motifs of haunting and transnationalism, that of confusion over identity. Mun’s interest in her own identity can be seen from the moment her new vision begins to come into focus: her first request is to be taken to the bathroom so that she can gaze at herself in
Cinema As Julian Stringer puts it, it is perhaps “natural for viewers to want to draw conclusions regarding what the films they consume may have to tell them about the society that produced them.”37 However, it seems that the success of Tartan Asia Extreme reveals more about Western perceptions and obsessions about East Asian countries than what people or societies are like in these countries. It is also notable that the language and approach used in Tartan Asia Extreme’s promotional campaigns,
narrative cannot accommodate.33 Thus, 132 Robert L. Cagle the question is not so much that there exists no means for representing this material, but rather, that this material resists representation. “The ‘return of the repressed’ takes place, not in the conscious discourse, but displaced onto the body of the patient,” writes Nowell-Smith. In the case of the film, “where there is always material which cannot be expressed . . . a conversion can take place into the body of the text.”34 These
interpretation comes in the form of a Korean dictionary. In making this narrative play, the film both explains the motivations behind the events that have preceded it, and, more important, serves to reinforce the interpretation of the mind control that leads to violence with the English language, and arguably, by extension, with the influence of American culture on Korea. In this respect, H represents a uniquely Korean reinterpretation of a characteristically American sub-genre, the serial killer