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2 results

  • 3.20 - Global Gothic 2: East Asian Gothic

  • Edited by Catherine Spooner, Lancaster University, Dale Townshend, Manchester Metropolitan University
  • Book:
    The Cambridge History of the Gothic
    Published online:
    29 July 2021
    Print publication:
    19 August 2021, pp 403-423

  • Summary

    This chapter examines Gothic traditions in East Asian cinema, with a specific focus on films and popular culture from Japan, South Korea and Hong Kong. The chapter explores key features of the East Asian Gothic mode: generic hybridity, mythology, morality and important historical moments in the Western reception of influential films. The central argument uniting the analysis of these three distinct national cinemas concerns the narrative and thematic meaning of the figure of the ghost. How are local audiences expected and invited to respond to these avatars of the deceased? What do they reflect from contemporary society, and how do they comment on the past? The ghost in many of these films is not only an object of fear (indeed, it is frequently not an object of fear at all), but also, with varying frequency, a lover, or a hero or a subject of profound pity and sadness. The evolving meaning of the ghost in films from Japan, South Korea and Hong Kong suggests some ways that definitions and understandings of the Gothic should be reconfigured for a global media context.

Film and Constitutional Controversy
  • Visualizing Hong Kong Identity in the Age of 'One Country, Two Systems'
  • Marco Wan
  • Published online:
    05 February 2021
    Print publication:
    04 February 2021
  • In modern-day Hong Kong, major constitutional controversies have caused people to demonstrate on the streets, immigrate to other countries, occupy major thoroughfares, and even engage in violence. These controversies have such great resonance because they put pressure on a cultural identity made possible by, and inseparable from, the 'One Country, Two Systems' framework. Hong Kong is also a city synonymous with film, ranging from commercial gangster movies to the art cinema of Wong Kar-wai. This book argues that while the importance of constitutional controversies for the process of self-formation may not be readily discernible in court judgments and legislative enactments, it is registered in the diverse modes of expression found in Hong Kong cinema. It contends that film gives form to the ways in which Hong Kong identity is articulated, placed under stress, bolstered, and transformed in light of disputes about the nature and meaning of the city's constitutional documents.