Added: February 4, 2017 – Last updated: February 4, 2017


Author: Qin Chen

Title: The Others

Subtitle: Desire, Anxiety, and the Politics of Chinese Horror Cinema (1989-2015)

Thesis: Ph.D. Thesis, Ohio State University

Advisor: Kirk A. Denton

Year: 2016

Pages: xv + 342pp.

Language: English

Keywords: Modern History: 20th Century, 21st Century | Asian History: Chinese History | Representations: Films


Link: OhioLINK: Ohio's Academic Library Consortium (Free Access)


Abstract: »This dissertation is a study of postsocialist Chinese horror cinema—namely, horror film of the period from 1989 to the present—and centers around the question of how Chinese horror films are responding to the dramatic changes China has experienced over the past three and a half decades. The return of the horror genre, which had been effectively banned in the Mao era, is a consequence of both market reforms and the social malaise and anxieties engendered in the radical social and economic transformations of this period. Through analyzing multiple issues in a large number of horror films in the framework of the Self/Other dichotomy from different perspectives of history, gender, class, and identity, this dissertation seeks to broaden our understanding of both postsocialist China and postsocialist cinema.« (Source: Thesis)


  Abstract (p. ii)
  Dedication (p. iii)
  Acknowledgments (p. iv)
  Vita (p. vi)
  List of Figures (p. x)
  A Note on Romanization (p. xv)
  Introduction (p. 1)
  Chapter 1: Trauma or Karma: Allegorical Moments and the Politics of Historical Memory (p. 40)
    Introduction (p. 40)
    The Emergence of Horror in the Post-Mao Era (p. 42)
    Negotiation between Commercialism and Ideology: Presentation of Historical Violence and the Politics of Chinese Rating System (p. 47)
    Thematic and Generic Innovations in The Lonely Ghost in the Dark Mansion (p. 70)
    Ghost, Villain, and the Police: Innovations in Themes (p. 71)
      Story within A Story and Film within A Film: Innovations in Narrative Structures (p. 89)
      A Visual and Auditory Feast of Horror: Innovations in Form (p. 97)
    Spectral Time and Haunted Mansion, Historical Trauma and Institutionalized Insanity (p. 105)
    Conclusion (p. 122)
  Chapter 2: The Horror Cinema of Infidelity: Lust, Anxiety, and the Cultural Politics of Gender (p. 126)
    Introduction (p. 126)
    Unfaithful Wives and Female Infidelity as Allegories (p. 130)
    Love Triangle, Concubine Culture, and Women as Cultural Capital (p. 142)
    Femme Fatale and Virtuous Woman: The Monstrous-Feminine in the Horror Cinema of Infidelity (p. 161)
    Conclusion (p. 181)
  Chapter 3: Phantom of the City: Social Stratification, Alienation, and Ambiguous Others (p. 184)
    Introduction (p. 184)
    Urban Horror: Reconfigurations of Space and Power (p. 187)
    Modernization, Urbanization, and Alienation (p. 211)
    Conclusion (p. 233)
  Chapter 4: Eroticism and Exorcism: History, Identity, and the Politics of Erotic Ghost Films (p. 236)
    Introduction (p. 236)
    History and Nostalgia: Li Han-hsiang’s The Enchanting Shadow (p. 242)
    Utopia and Dystopia: A Chinese Ghost Story Trilogy and King Hu’s The Painted Skin (p. 256)
    Betrayal and Return: Remakes of The Painted Skin and A Chinese Ghost Story in the New Millennium (p. 285)
    Conclusion (p. 305)
  Conclusion (p. 309)
  Bibliography (p. 314)
  Appendix: Filmography (p. 337)
    Mainland China (p. 337)
    Hong Kong (p. 340)
    Mainland-Hong Kong co-produced Films (p. 342)

Wikipedia: History of Asia: History of China | Film: Chinese films / Chinese horror films, Hong Kong horror films