Contents

pp v-vi

Acknowledgements

pp vii-vii

Notes on the Contributors

pp viii-x

Introduction

pp 1-16

Part I - Formations and Fragmentations: the Development of Hong Kong Horror

pp 17-18

1 - What Can a Neoi Gwei Teach Us? Adaptation as Reincarnation in Hong Kong Horror of the 1950s

pp 19-33

2 - The White Snake in Hong Kong Horror Cinema: from Horrific Tales to Crowd Pleasers

pp 34-51

3 - From Killer Snakes to Taxi Hunters: Hong Kong Horror in an Exploitation Context

pp 52-63

4 - The Enduring Cult of The Bride with White Hair: Chivalry and the Monstrous Other in the Hong Kong Fantasy-Horror

pp 64-76

Part II - Genre Hybridity: Comedy and Kung Fu in the Hong Kong Horror

pp 77-78

5 - Animated Pasts and Unseen Futures: on the Comic Element in Hong Kong Horror

pp 79-96

6 - Performing (Comic) Abjection in the Hong Kong Ghost Story

pp 97-109

7 - Hands, Fingers and Fists: ‘Grasping’ Hong Kong Horror Films

pp 110-132

8 - Tsui Hark’s Detective Dee Films: Police Procedural Colludes with Supernatural-Martial Arts Cinema

pp 133-146

Part III - Transnational Trends: Globalisation and Politics in Contemporary Hong Kong Horror

pp 147-148

9 - Cross-border Implications: Transnational Haunting, Gender and the Persistent Look of The Eye

pp 149-164

10 - Food for Thought: Cannibalism in The Untold Story and Dumplings

pp 165-184

11 - Sympathy for the Slasher: Strategies of Character Engagement in Pang Ho-cheung’s Dream Home

pp 185-203

12 - Ghostly Returns: the Politics of Horror in Hong Kong Cinema

pp 204-222

Index

pp 223-227