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Relevant bibliographies by topics / Asian horror cinema

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Academic literature on the topic 'Asian horror cinema'

Author: Grafiati

Published: 11 December 2022

Last updated: 31 July 2025

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Journal articles on the topic "Asian horror cinema"

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Ha, Ju-Yong, and Joel David. "Alien Abjection Amid the Morning Calm: A Singular Reading of Horror Films from Beyond Southeast Asia." Plaridel 12, no. 2 (2015): 178–200. http://dx.doi.org/10.52518/2015.12.2-09hadvd.

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Although Korean cinema managed to ride the crest of Western appreciation (and appropriation) of Asian horror, Korean horror films had to struggle for recognition within the nation. Horror film production, in fact, was downgraded so severely by the government that during certain years, including an extended period starting in the late 1980s, no horror film project was undertaken. This article seeks to look into the causes of the difficulties experienced by horror film production outside Southeast Asia (specifically in Korea), and to posit that a hybridic relation with other Asian cinemas—includ

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Wajda, Piotr. "Specters of postcolonialism in HBO’s Folklore." Panoptikum, no. 28 (December 29, 2022): 86–97. http://dx.doi.org/10.26881/pan.2022.28.05.

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This paper aims to present the Asian take on the folk horror subgenre. The author focuses on the HBO-produced anthology Folklore (2018–), which states the starting point for further analyses. Wajda starts by pointing to difficulties in defining ‚folk horror’ and its meaning for the development of global cinemas. The author describes and compares different approaches to this term and takes a closer look at relations between horror, its literary beginnings, and folk stories filled with grim and gruesome events. Concerning the above, Wajda observes that folk horror was primarily associated with B

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Ainslie, Mary. "Thai Horror Film in Malaysia: Urbanization, Cultural Proximity and a Southeast Asian Model." Plaridel 12, no. 2 (2015): 55–82. http://dx.doi.org/10.52518/2015.12.2-04ansli.

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This article examines Thai horror films as the most frequent and visible representation of Thai cultural products in Malaysia. It outlines the rise of Thai horror cinema internationally and its cultivation of a pan-Asian horrific image of urbanization appropriate to particular Malaysian viewers. Through a comparison with Malaysian horror film, it then proposes a degree of “cultural proximity” between the horrific depictions of these two Southeast Asian industries which point to a particularly Southeast Asian brand of the horror film. Despite such similarity however, it also indicates that in t

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Kerner, Aaron Michael. "The Circulation of Post-Millennial Extreme Cinema." Asian Diasporic Visual Cultures and the Americas 2, no. 3 (2016): 200–220. http://dx.doi.org/10.1163/23523085-00203002.

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Extreme cinema is an international trend which encompasses a wide range of cinematic genres: thrillers, dramatic narratives, so-called “art films,” and horror films. In the context of Asian extreme films, we find an especially highly-dynamic crisscrossing of influences. There is an assumption in the Western imagination that the Asian diaspora is unidirectional insofar as Asian populations gravitate toward the beacons of Western civilization. Trends in post-millennial extreme cinema however disrupt this particular diasporic narrative. This article argues that post-millennial extreme films are n

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Ancuta, Katarzyna. "Lost and Found: The Found Footage Phenomenon and Southeast Asian Supernatural Horror Film." Plaridel 12, no. 2 (2015): 149–77. http://dx.doi.org/10.52518/2015.12.2-08ancta.

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This article offers a brief historical and theoretical overview of found footage films and their contribution to the horror genre, and focuses in more detail on four Southeast Asian productions of the kind made between 2009-2012: Keramat/Sacred (Servia & Tiwa, 2009), Seru/Resurrection (Asraff, Pillai, Andre & Jin 2011), Haunted Changi (Kern, Woo & Lau, 2010), and Darkest Night (Tan, 2012), all of which can be viewed as an alternative to the mainstream local horror cinema. The paper argues that the two most common strategies used by found footage horror films (including the four fil

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Widyaevan, Dea Aulia, and Iqbal Prabawa Wiguna. "INTERIOR MISE-EN SCENE IN ASIAN HORROR FILM’S SETTINGS." Capture : Jurnal Seni Media Rekam 13, no. 1 (2022): 51–70. http://dx.doi.org/10.33153/capture.v13i1.3971.

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Interior design is a process of conditioning a specific atmosphere, which relates to the concept of 'staging space.' As interior design is inherently designed to create an illusory world, the 'illusive, simulative' space can be used interchangeably with the real-imagined space of interior design and cinema. This article will examine three horror films to focus on how interior mise-en-scene is used to create a horror atmosphere. The films A Mother's Love, Tatami, and POB embodied semantic meanings into their spatial settings, serving as a projection of the characters; psyche, and story plots. A

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Kim, Kyu Hyun. "Horror to the Extreme: Changing Boundaries in Asian Cinema (review)." Journal of Korean Studies 16, no. 2 (2011): 317–19. http://dx.doi.org/10.1353/jks.2011.0019.

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"Employing a Chinese Ghost Story to Teach the Syncretism of Chinese Religions." Journal of Religion & Film 26, no. 2 (2022). http://dx.doi.org/10.32873/uno.dc.jrf.26.02.02.

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Upon its release in 1987, the Hong Kong blockbuster A Chinese Ghost Story resulted in sequels, adaptations, and two remakes in 2011 and 2020. Despite its popularity, only a few critics have noticed its eclectic representations of Chinese religions, nor has there been any evaluation of its pedagogical potential. This article details how the author employs this 1987 work to teach the syncretism of Chinese religions in an undergraduate course “Asian Religions in Film.” By decoding the embedded concepts, the meanings and history behind “the Jade Garland talisman,” the inclusion of the Diamond Sutr

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Binns, Daniel. "No Free Tickets." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2882.

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Introduction 2021 was the year that NFTs got big—not just in value but also in terms of the cultural consciousness. When digital artist Beeple sold the portfolio of his 5,000 daily images at Christie’s for US$69 million, the art world was left intrigued, confused, and outraged in equal measure. Depending on who you asked, non-fungible tokens (NFTs) seemed to be either a quick cash-grab or the future of the art market (Bowden and Jones; Smee). Following the Beeple sale, articles started to appear indicating that the film industry was abuzz for NFTs. Independent filmmaker Kevin Smith was quick t

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Dissertations / Theses on the topic "Asian horror cinema"

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Boey, Danny. "The national specificity of horror sources in Asian horror cinema." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/50769/1/Danny_Boey_Thesis.pdf.

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This dissertation explores the relationship between horror films and the national contexts in which they are produced by analyzing several Asian horror movies – Ringu (Japan), The Eye (Hong Kong) and Shutter (Thailand). Utilizing these films as case studies, the dissertation examines the degree to which genre cinemas are nationally-specific, and the degree to which it is possible to make genre films that can enter international markets and be comprehensible in various national markets as well. The dissertation also makes the following claims on the national specificity of genre cinema: i) The

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Chen, Qin. "The Others: Desire, Anxiety, and the Politics of Chinese Horror Cinema (1989-2015)." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469178422.

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Books on the topic "Asian horror cinema"

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Choi, Jinhee. Horror to the Extreme: Changing Boundaries in Asian Cinema. Hong Kong University Press, 2010.

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Luo, Liang. The White Snake in Hong Kong Horror Cinema: from Horrific Tales to Crowd Pleasers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0003.

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Considered one of the four legends in the Chinese oral tradition, the legend of the White Snake and its theatrical and popular cultural metamorphoses played an important role in the pre-cinematic origins of Hong Kong horror cinema. This chapter surveys the changing representation of gender and horror in a series of films based on the White Snake legend from the 1920s to the 1970s. Centred on a very horrific concept (a monstrous snake disguised as a beauty and married to a human male), these films nonetheless enrich or even challenge our understanding of the genre of horror cinema in their serv

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Barker, Thomas. Indonesian Cinema after the New Order. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528073.001.0001.

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In the two decades since the fall of the New Order regime in 1998, Indonesia cinema has become one of the most productive and exciting film industries in Asia. From a position in the 1990s when local films were on the cultural periphery, they are now part of the mainstream with two new films in the cinemas every week. This book traces how the film industry reformed and returned to popularity and conceptualises it as a process of going mainstream. It overturns long held paradigms of national cinema and statism to see the film industry as pop culture in which market mechanisms are determinant. I

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Martin, Daniel. Extreme Asia. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748697458.001.0001.

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This book explains and analyses the unprecedented rise in visibility of ‘cult’ Asian cinema in the UK, especially between the years 2000 and 2005. Considering multiple factors behind the cultural, critical and economic success of Asia cinema in the West, this book focuses specifically on the hugely influential and pioneering (if deeply problematic) Tartan Films (formerly Metro-Tartan) Asia Extreme brand. This book is structured as a series of case studies, examining different films, filmmakers and distribution events in order to sketch an historical overview of this developing film cycle, payi

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Bettinson, Gary, and Daniel Martin. Introduction. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0001.

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This introduction to Hong Kong Horror Cinema introduces Hong Kong horror from a variety of perspectives, charting the history and development of the genre and citing key films and filmmakers; it puts Hong Kong horror in the context of East Asian horror more broadly, discussing some of the cultural specificities of Hong Kong horror that differentiate it from the popular and historical horror cycles from Japan, South Korea, Thailand and China; it provides a brief overview of horror studies within the field of academic theory, and suggests ways in which Hong Kong horror films can contribute new p

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Coleman, Lindsay, Daisuke Miyao, and Roberto Schaefer, eds. Transnational Cinematography Studies. Lexington Books, 2016. https://doi.org/10.5040/9781978739888.

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Transnational Cinematography Studies introduces new perspectives to the discipline of film and media studies. First, this volume focuses on a crucial yet largely unexplored area in film and media studies: the substantial communication between critical studies of cinema and film production practices. This book integrates theories and practices of cinematographic technology. Secondly, Transnational Cinematography Studies expands the scope of film and media studies into the arena of transnationalism. Cinema is now discussed in terms of globalization of audio-visual cultures, with regard to such i

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Book chapters on the topic "Asian horror cinema"

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Ainslie, Mary J. "Towards a Southeast Asian Model of Horror: Thai Horror Cinema in Malaysia, Urbanization, and Cultural Proximity." In Transnational Horror Cinema. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-58417-5_9.

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Kinnia, Yau Shuk-ting. "A “Horrible” Legacy: Noh and J-horror." In East Asian Cinema and Cultural Heritage. Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339507_5.

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Raphael, Raphael. "Planet Kong: Transnational Flows of King Kong (1933) in Japan and East Asia." In Transnational Horror Cinema. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-58417-5_10.

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Lee, Vivian P. Y. "J-Horror and Kimchi Western: Mobile Genres in East Asian Cinemas." In East Asian Cinemas. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307186_7.

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Lee, Nikki J. Y. "“Asia” as Regional Signifier and Transnational Genre-Branding: The Asian Horror Omnibus Movies Three and Three … Extremes." In East Asian Cinemas. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307186_6.

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"Asian Horror." In Studying Horror Cinema. Auteur, 2019. http://dx.doi.org/10.2307/j.ctv138424v.9.

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Turnock, Bryan. "Asian Horror." In Studying Horror Cinema. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325895.003.0007.

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This chapter details how the mid-1990s saw a substantial increase in the number of horror films being produced in Asian countries, and in particular Japan and Korea. At the same time, globalisation and the introduction of worldwide distribution channels meant that such films became much more accessible to western audiences, with the surprise success of Hideo Nakata's Ringu (1998) bringing Japanese horror into the mainstream of western cinema. Often used to describe genre films from across Asia, so-called 'J-Horror' is now a recognised sub-genre in the west, with a number of scholarly books ded

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Martin, Daniel. "10. Between the Local and the Global: ‘Asian Horror’ in Ahn Byung-ki’s Phone and Bunshinsaba." In Korean Horror Cinema. Edinburgh University Press, 2013. http://dx.doi.org/10.1515/9780748677658-014.

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"Asian horror and the ghost-story style." In The Asian Cinema Experience. Routledge, 2013. http://dx.doi.org/10.4324/9780203115657-12.

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"Generic ghosts: Remaking the new ‘Asian horror film’." In Hong Kong Film, Hollywood and New Global Cinema. Routledge, 2007. http://dx.doi.org/10.4324/9780203967362-16.

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