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Hong Kong Horror Cinema$
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Gary Bettinson and Daniel Martin

Print publication date: 2018

Print ISBN-13: 9781474424592

Published to Edinburgh Scholarship Online: September 2018

DOI: 10.3366/edinburgh/9781474424592.001.0001

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

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

Chapter:
(p.149) Chapter 9 Cross-border Implications: Transnational Haunting, Gender and the Persistent Look of The Eye
Source:
Hong Kong Horror Cinema
Author(s):

Enrique Ajuria Ibarra

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474424592.003.0010

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.

Keywords:   Haunting, Vision, Asian Gothic, Horror film, Hong Kong identity, The Eye

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