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Since Japanese horror sensations The Ring and Audition first terrified Western audiences at the turn of the millennium, there's been a growing appreciation of Asia as the hotbed of the world's best horror movies. Over the last decade, Japan, South Korea, Thailand, and Hong Kong have all produced a steady stream of stylish supernatural thrillers and psychological chillers that have set new benchmarks for cinematic scares. Hollywood soon followed suit, producing high-profile remakes of films such as The Ring, Dark Water, The Grudge, and The Eye. With scores of Asian horror films now available to Western audiences, this guide helps viewers navigate the eclectic mix of vengeful spooks, yakuza zombies, feuding warlocks, and devilish dumplings, discussing the grand themes of Asian horror cinema and the distinctive national histories that give the films their special resonance. Tracing the long and noble tradition of horror stories in eastern cultures, it also delves into some of the folktales that have influenced this latest wave of shockers, paying tribute to classic Asian ghost films throughout the ages.
The Asian Horror Encyclopedia is the first reference work of its kind in English. It covers Asian horror culture in literature, art, film and comics. From its roots in ancient Chinese folklore to the best-selling Japanese horror novelists of today, this book is a handy alphabetic reference, collecting scarce information from obscure sources.
This book compares production and consumption of Asian horror cinemas in different national contexts and their multidirectional dialogues with Hollywood and neighboring Asian cultures. Individual essays highlight common themes including technology, digital media, adolescent audience sensibilities, transnational co-productions, pan-Asian marketing techniques, and variations on good vs. evil evident in many Asian horror films. Contributors include Kevin Heffernan, Adam Knee, Chi-Yun Shin, Chika Kinoshita, Robert Cagle, Emilie Yeh Yueh-yu, Neda Ng Hei-tung, Hyun-suk Seo, Kyung Hyun Kim, and Robert Hyland.
As the first detailed English-language book on the subject, Korean Horror Cinema introduces the cultural specificity of the genre to an international audience, from the iconic monsters of gothic horror, such as the wonhon (vengeful female ghost) and the gumiho (shapeshifting fox), to the avenging killers of Oldboy and Death Bell. Beginning in the 1960s with The Housemaid, it traces a path through the history of Korean horror, offering new interpretations of classic films, demarcating the shifting patterns of production and consumption across the decades, and introducing readers to films rarely seen and discussed outside of Korea. It explores the importance of folklore and myth on horror film narratives, the impact of political and social change upon the genre, and accounts for the transnational triumph of some of Korea's contemporary horror films. While covering some of the most successful recent films such as Thirst, A Tale of Two Sisters, and Phone, the collection also explores the obscure, the arcane and the little-known outside Korea, including detailed analyses of The Devil's Stairway, Woman's Wail and The Fox With Nine Tails. Its exploration and definition of the canon makes it an engaging and essential read for students and scholars in horror film studies and Korean Studies alike.
The Asian Horror Encyclopedia is the first reference work of its kind in English. It covers Asian horror culture in literature, art, film and comics. From its roots in ancient Chinese folklore to the best-selling Japanese horror novelists of today, this book is a handy alphabetic reference, collecting scarce information from obscure sources.
A fan's guide to the weirdest, scariest films from Asian masters.
When Dr. Nagashima loses his wife in a mysterious car crash, he is overwhelmed with grief but also an eerie sense of purpose; he becomes obsessed with reincarnating his dead wife. Her donated kidney is transplanted into a young girl with a debilitating disorder, but the doctor also feels compelled to keep a small sample of her liver in his laboratory. When these cells start mutating rapidly, a consciousness bent on determining its own fate awakens, bent on becoming the new dominant species on earth. Parasite Eve was the basis of the hugely popular video game of the same name in the U.S. and has been cinematized in Japan.
Although the horror genre has been embraced by filmmakers around the world, Japan has been one of the most prolific and successful purveyors of such films. From science fiction terrors of the 1950s like Godzilla toviolentfilms like Suicide Circle and Ichi the Killer, Japanese horror film has a diverse history. While the quality of some of these films has varied, others have been major hits in Japan and beyond, frightening moviegoers around the globe. Many of these films—such as the Ringu movies—have influenced other horror productions in both Asia and the United States. The Encyclopedia of Japanese Horror Films covers virtually every horror film made in Japan from the past century to date. In addition to major and modest productions, this encyclopedia also features entries on notable directors, producers, and actors. Each film entry includes comprehensive details, situates the film in the context and history of Japanese horror cinema, and provides brief suggestions for further reading. Although emphasizing horror as a general theme, this encyclopedia also encompasses other genres that are associated with this theme, including Comedy Horror, Science Fiction Horror, Cyber-punk Horror, Ero Guru (Erotic Grotesque), and Anime Horror. The Encyclopedia of Japanese Horror Films is a comprehensive reference volume that will appeal to both cinema scholars as well as to the many fans of this popular genre.
This book investigates the politics of identity in Asia and explores how different groups of people inside and outside Asia have attempted to relate to the alterity of the places and cultures in the region through various modes (literary and filmic representation, scholarly knowledge, and so on) and at different points in time. Although coming from different perspectives like literary criticism, film studies, geography, cultural history, and political science, the contributors collectively argue that Asian otherness is more than the dialectical interplay between the Western self and one of its many others, and more than just the Orientalist discourse writ large. Rather, they demonstrate the existence of multiple levels of inter-Asian and intercultural contact and consciousness that both subvert as much as they consolidate the dominant ‘Western Core-Asian periphery’ framework that structures what the mainstream assumes to be knowledge of Asia. With chapters covering a wealth of topics from Korea and its Cold War history, to Australia's Asian identity crisis, this book will be of huge interest to anyone interested in critical Asian studies, Asian ethnicity, postcolonialism and Asia cultural studies. Leong Yew is an Assistant Professor in the University Scholars Programme, National University of Singapore. He is the author of The Disjunctive Empire of International Relations (2003).
The Ring (2002)—Hollywood’s remake of the Japanese cult success Ringu (1998)—marked the beginning of a significant trend in the late 1990s and early 2000s of American adaptations of Asian horror films. This book explores this complex process of adaptation, paying particular attention to the various transformations that occur when texts cross cultural boundaries. Through close readings of a range of Japanese horror films and their Hollywood remakes, this study addresses the social, cultural, aesthetic and generic features of each national cinema’s approach to and representation of horror, within the subgenre of the ghost story, tracing convergences and divergences in the films’ narrative trajectories, aesthetic style, thematic focus and ideological content. In comparing contemporary Japanese horror films with their American adaptations, this book advances existing studies of both the Japanese and American cinematic traditions, by: illustrating the ways in which each tradition responds to developments in its social, cultural and ideological milieu; and, examining Japanese horror films and their American remakes through a lens that highlights cross-cultural exchange and bilateral influence. The book will be of interest to scholars of film, media, and cultural studies.