Book contents
- Frontmatter
- Contents
- Acknowledgements
- Notes on the Contributors
- Introduction
- Part I Formations and Fragmentations: the Development of Hong Kong Horror
- Part II Genre Hybridity: Comedy and Kung Fu in the Hong Kong Horror
- Part III Transnational Trends: Globalisation and Politics in Contemporary Hong Kong Horror
- Index
9 - Cross-border Implications: Transnational Haunting, Gender and the Persistent Look of The Eye
Published online by Cambridge University Press: 28 April 2021
- Frontmatter
- Contents
- Acknowledgements
- Notes on the Contributors
- Introduction
- Part I Formations and Fragmentations: the Development of Hong Kong Horror
- Part II Genre Hybridity: Comedy and Kung Fu in the Hong Kong Horror
- Part III Transnational Trends: Globalisation and Politics in Contemporary Hong Kong Horror
- Index
Summary
The calligraphy lesson in the Pang Brothers’ The Eye (2002) presents a haunting that differs significantly from the other spectral encounters in the film. While protagonist Wong Kar Mun is concentrating on following her teacher's instructions, she suddenly hears a female voice asking her why she has taken her seat. Mun is scared and looks back at the old teacher to see if he has also noticed the haunting voice. She turns around and the reverse shot reveals a pale woman floating on the other side of the room. Once again, she demands to know why Mun is sitting on her chair before charging towards her and suddenly dissolving before Mun's perplexed and horrified countenance. Unlike the rest of the spectres in this film, this ghost is heard before it is seen. By focusing first on the aural qualities of the haunting, this scene gains significance: Mun realises she can also hear supernatural voices, thus making her encounter much more frightening. Since the source of the voice is off-screen, the haunting possesses an acousmatic quality. In Michel Chion's terms, this heightens the immaterial and invisible quality of this ghost, rendering it ubiquitous (Chion 1999: 24–5), yet unheard and unseen but for Mun. The scene is thus unusual because the haunting is never presented this way again throughout the rest of the film. Instead of further experimenting with different cinematic techniques to portray a spectral apparition, The Eye, as the title suggests, solely uses vision to identify ghosts. Also, once the spectre has been visually perceived, its ubiquity changes to a deictic configuration: the ghost is standing there before it comes at Mun here.
The success of the Pang Brothers’ film prompted two sequels, The Eye 2 (2004) and The Eye 10 (also known as The Eye Infinity and occasionally as The Eye 3, 2005), in which the directors once again explore other terrifying forms of seeing ghosts: the second film focuses on a depressed pregnant woman, and the third instalment follows a group of friends playing several traditional Thai games that claim to allow people to see spectres.
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- Information
- Hong Kong Horror Cinema , pp. 149 - 164Publisher: Edinburgh University PressPrint publication year: 2018