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

2018 ◽  
Author(s):  
Enrique Ajuria Ibarra
Keyword(s):  
Southeast Asian ◽  
Horror Films ◽  
Film Production ◽  
Visual Preference ◽  
Female Protagonists ◽  
Cross Border ◽  
Film Series ◽  
Eastern Traditions

The Eye (Gin Gwai, 2002) and its two sequels (2004, 2005) deal with pan-Asian film production, gender, and identity. The films seem to embrace a transnational outlook that that fits a shared Southeast Asian cinematic and cultural agenda. Instead, they disclose tensions about Hong Kong’s identity, its relationship with other countries in the region, and its mixture of Western and Eastern traditions (Knee, 2009). As horror films, The Eye series feature transpositional hauntings framed by a visual preference for understanding reality and the supernatural that is complicated by the ghostly perceptions of their female protagonists. Thus, the issues explored in this film series rely on a haunting that presents textual manifestations of transposition, imposition, and alienation that further evidence its complicated pan-Asian look. This chapter examines the films’ privilege of vision as catalyst of a transnational, Asian Gothic horror aesthetic that addresses concepts of identity, gender, and subjectivity.

British film production and the horror genre

2015 ◽  
Author(s):  
Johnny Walker
Keyword(s):  
Horror Films ◽  
Horror Film ◽  
Film Production ◽  
Home Video ◽  
Horror Genre ◽  
British Cinema ◽  
Distinctive Aspect ◽  
The Uk ◽  
Audience Demographics ◽  
New Millennium

Chapter 2 contemplates why British horror was revived at the dawning of the new millennium, and also considers some of the reasons why British horror films produced in the 2000s and 2010s can be viewed as constituting a distinctive aspect of contemporary British cinema. I discuss the establishment of the UK Film Council (UKFC) in 2000 and contextualise the contemporary British horror film in the international film marketplace, drawing parallels between British horror and British film production more broadly, British horror and international horror production, and the audience demographics targeted by distributers and film production companies. This involves examining British horror’s shift from a theatrical genre to one associated primarily with the home video and online market.

The Cultural Politics of Remaking Spanish Horror Films in the Twenty-first Century: Quarantine and Come Out and Play

2017 ◽  
Author(s):  
Andy Willis
Keyword(s):  
Cultural Politics ◽  
21St Century ◽  
North American ◽  
Horror Films ◽  
First Century ◽  
Horror Film ◽  
Film Production ◽  
The North ◽  
The Us ◽  
Transnational Film

The 21st century revival in Spanish horror film production has seen both a resurgence of interest in the genre’s Iberian past and an interest in transnational film remakes for North American audiences. This chapter will consider the cultural politics of remaking Spanish horror through two case studies - Quarantine (2008), the US remake of [REC] (2007), and Come Out and Play (2012), the Mexican remake of Who Can Kill a Child? (1976). The chapter argues that Who Can Kill a Child? might profitably be read as an engagement with the legacy of Francoist Spain, and that [REC] could be productively understood in relation to Spain’s recent tensions surrounding immigration. Through a discussion of the potential political readings of these films, the chapter argues that the North American remakes are divested of the most urgent political aspects of their Spanish counterparts in an endeavour to create globally marketable horror films.

scholarly journals Cross-border Collaboration to Improve Access to Medicine: Association of Southeast Asian Nations Perspective

2019 ◽  
Author(s):  
Kah Seng Lee ◽  
Long Chiau Ming ◽  
Qi Ying Lean ◽  
Siew Mei Yee ◽  
Rahul P. Patel ◽  
...  
Keyword(s):  
Southeast Asian ◽  
Access To Medicine ◽  
Cross Border ◽  
Improve Access

scholarly journals India-Pakistan Bilateral Trade

2017 ◽  
Vol 13 (1) ◽  
pp. 17-42
Author(s):  
Manisha Dhiman ◽  
Sandeep Kaur
Keyword(s):  
European Union ◽  
Bilateral Trade ◽  
Southeast Asian ◽  
Cross Border ◽  
Border Trade

Cross-border trade with the help of RTAs works as the backbone for the growth of member nations.   SAFTA'S intra-trade increased from 5.1 percent in 1995 and reached at 6.8 percent in 2014. It is too low as compared to European Union (EU) and the Association of Southeast Asian Nations (ASEAN) (UNCTAD, 2015). In context of  this, it has become important to study bilateral trade performance  between India and Pakistan.

scholarly journals Experiencing Male Dominance in Swedish Film Production

2020 ◽  
pp. 163-178
Author(s):  
Maria Jansson ◽  
Louise Wallenberg
Keyword(s):  
Gender Equality ◽  
Film Industry ◽  
Male Dominance ◽  
Film Production ◽  
Vast Number ◽  
Female Protagonists ◽  
Recent Success ◽  
Institutional Aspects ◽  
Similarities And Differences ◽  
Gender Trouble

Abstract Sweden has been hailed for its recent success in increasing the number of female directors, scriptwriters and producers. Published reports, panel discussions and a vast number of press conferences on the pressing matter of gender equality within the industry together with a 5050 quota have all put the Swedish film industry—and its CEO Anna Serner—on the map. However, the last couple of years has disclosed several scandals regarding sexism and discrimination in the Swedish film industry—just as in other national film industries. This paper sets out to discuss how female film workers (e.g., directors, actors and producers) understand and negotiate their experiences of male dominance within their work context. Based on a series of interviews with women working in Swedish film from the early 1960s until today, we analyze similarities and differences in experiences as well as how these experiences are explained by the interviewees. Their stories are analyzed by using feminist institutional theory to understand how policy, funding schemes and other institutional aspects are intertwined with their experiences. The paper sets out to analyze three themes: (1) comments and suggestions during production and post-production regarding female protagonists; (2) experience of gender trouble in the process of fundraising; and (3) strategies used by the interviewed filmmakers to produce a more women-friendly environment during productions.

English Gothic

2019 ◽  
pp. 79-98
Author(s):  
Bryan Turnock
Keyword(s):  
Film Industry ◽  
Source Material ◽  
Horror Films ◽  
Horror Film ◽  
Film Production ◽  
Box Office ◽  
The World ◽  
Iconic Images ◽  
1960S And 1970S ◽  
The 1960S

This chapter evaluates the British horror film industry. Given the country's input in the success of the Hollywood horror films of the 1930s, in terms of source material as well as technicians and actors, horror film production in Britain was remarkably slow to emerge. This was due in no small part to the stringent censorship rules of the British Board of Film Censorship/Classification (BBFC), who did their best to dissuade British studios from making such films. The chapter investigates how one studio took up the reins of the genre and went on to dominate it for almost two decades. Matched only by the golden age of Universal in the 1930s and 1940s, Hammer Films produced some of the genre's most iconic images and characters through dozens of productions, while breaking box-office records around the world. The chapter looks at Terence Fisher's The Curse of Frankenstein (1957), the company's first foray into the genre, one which would lay the foundations for their success and set the template for the English Gothic horror film as it flourished into the 1960s and 1970s.

Where got ghost movie?: The boundaries of Singapore horror

Asian Cinema ◽  
2020 ◽  
Vol 31 (1) ◽  
pp. 55-76 ◽  
Author(s):  
Adam Knee
Keyword(s):  
Major Part ◽  
Critical Evaluation ◽  
Southeast Asian ◽  
Horror Films ◽  
Horror Film ◽  
New Wave ◽  
Small Industry ◽  
Supernatural Beliefs

While acknowledging that the horror film is generally not considered a major part of the ‘Singapore new wave’, this article makes the case that Singapore horror films nevertheless merit closer critical evaluation not only because of their sustained output in a very small industry, but also because of their articulation of a range of issues germane to Singapore nationhood and identity ‐ issues which obtain in other Singapore films as well. The discussion surveys the entirety of the Singapore horror output from the 1990s onwards and draws out a number of key distinctive themes and trends, such as the referencing of Chinese supernatural beliefs and regional Southeast Asian spirits, and also the distinctive preponderance of horror narratives involving military or police. The films are then read in relation to broad tropes of gender, geography and regulation.

scholarly journals Terrors of Girlhood

2013 ◽  
Author(s):  
Julie Casali
Keyword(s):  
Female Sexuality ◽  
Young Female ◽  
Horror Films ◽  
Horror Film ◽  
Female Characters ◽  
Female Protagonists ◽  
Horror Genre ◽  
Adolescent Women ◽  
American Horror Film

<p>Since the birth of the genre, American horror filmmakers have posed female characters as prey and objects of sexual desire. Adolescent women in particular act as both the victim and as eye candy for viewers. From the damsel in distress to the rape victim seeking revenge, women in horror films exist to be antagonized, and so often, their exhibition of femininity and sexuality determines the severity of their suffering. Moreover, though the popular horror film narrative tends to explore the fringes of human nature, few horror films openly deal with the fears and concerns of women outside of threats to their physical being.</p> <p>In the past decade, the horror genre has produced a new crop of young female characters who challenge the tropes of traditional horror films by trading in their role of damsel in distress for the role of the antagonist and anti-hero. What’s more, these films deal with themes relevant to young women, such as body image issues, tumultuous relationships, and sexual repression. In this thesis, I analyze the popular American horror film <em>Jennifer’s Body </em>(2009), which features two violent female protagonists and explores the horrors of adolescent female friendships. In my analysis, I examine whether or not the re-imagined female characters in this film are a progressive reconstruction of gender, and identify ideological conventions of the horror genre that continue to denigrate femininity and female sexuality.</p>

China’s Legacies in Southeast Asia

2020 ◽  
pp. 107-135
Author(s):  
David Shambaugh
Keyword(s):  
Sixteenth Century ◽  
Southeast Asia ◽  
Southeast Asian ◽  
Maritime Trade ◽  
Historical Records ◽  
Cross Border ◽  
Tribute System ◽  
Economic Exchanges ◽  
History Of ◽  
The Impact

This chapter traces the history of China’s legacies in Southeast Asia. Historically, China has loomed large—geographically, culturally, militarily, and economically—over Southeast Asia. This was particularly the case before the sixteenth-century arrival of European colonial powers, which encroached upon not only Southeast Asia but China itself, and began to limit earlier Sino-Southeast Asian interactions. Prior to that time, they were a mixture of cross-border migration and economic exchanges; a flourishing maritime trade; outright occupation and subjugation in one case (Vietnam); and ritualistic expressions of the “tribute system” for many others. These four legacies are all extraordinarily complex, for which there are not particularly good historical records. Thus, how one interprets these pre-modern interactions between China and Southeast Asia really does have to do with the available sources, and it seems that the lack of preserved Southeast Asian sources has had the impact of tilting interpretations in favor of the Chinese tributary paradigm. The chapter then describes this long sweep of Sino-Southeast Asian pre-modern and modern interactions in a relatively condensed fashion before turning to the post-1949 period.

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