Film Studies 1022 Lecture Notes - Lecture 22: Nations Of Nineteen Eighty-Four, Demon, Cultural Imperialism

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Film 1022: Transnational Cinema: ‘Asian Horror
Film’ 2016-03-08
Global reach of Hollywood that was resented by people who see
Hollywood as American hegemony and cultural imperialism. Keep this in
mind these notions while talking about the grudge.
Think of Hollywood presence in east-asian horror films.
Wide field of Asian horror films and how they appeal to audiences and
their success in the western world and how it relates to globalization, and
how it works to counter the hollywoodization of cinemas around the world.
Transnational Cinema
Doesn’t just appeal to people within the national boarders
Aggressive, imperial act by Hollywood
Poaching the talent from other countries
Weakening the ability of other countries to compete with Hollywood
in their own domestic countries.
Horror as a global genre
Horror genre in general, has been a major part of transnational
cinema and globalization because it follows certain conventions that
no matter where they come from, they are easily recognizable.
oTheir conventions travel around the world very well.
These genre conventions are appropriated and altered by
filmmakers around the world.
oThe American conventions are applied by Japanese directors
and so you don’t have to be familiar with aspects of Japanese
culture to enjoy the films.
oJust need to be familiar with the general conventions.
J-Horror and K-Horror don’t use typical American context (e.g.
Halloween). They deal with the crisis that are affecting their
oDeal with ancient traditions and modern horror
Japanese and Korean Horror
More innovative than American cinema. Not as gory.
With Japanese and Korean films it was more the fear of the
unknown, the fear of what’s in the shadows.
Evil spirits coming back to haunt the living
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Uray – the souls of the people who tragically died and didn’t have a
proper burial. They’re forced to say on earth to haunt the living.
The vengeful female – teenager who was usually brutally murdered
and comes back for revenge.
Often carry hidden messages.
Bring out the deepest, darkest fears.
American remakes are some of the primary reasons that this global
Hollywood inspires hate.
American remakes of Asian horror films such as The Eye, The
Grudge, The Ring
They were boycotted for homogenizing the classic films
They’re implicitly racist
Argues that racism is somewhat entrenched in Hollywood
The remakes were simply made to just take away the Asian faces
and subtitles. There’s no reason for them to be remade.
The retreat the originals just as screenplays that somebody
bothered to film and then they “do it right” in Hollywood.
The remakes also had a huge impact of dvd sales on the originals.
People wanted to compare the original to the new.
The directors of the originals were able to make it into Hollywood
because of the remakes of these films (e.g. the director of the
American version of the Grudge directed the original one)
Cultural Globalization
National cinema would concern itself with its own national context
National cinema is cultural identity
When Japanese directors make films in Hollywood, how much of
their own unique skills, cultural context etc do they fuse into these
Transnational Cinema in East-Asia
Local language films
oStarts to compete really aggressively.
oCame about as the result of renewed interest of locally made
oHollywood films push for people to only watch Hollywood
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