Siddique / Raphael Transnational Horror Cinema

Bodies of Excess and the Global Grotesque
1. Auflage 2017
ISBN: 978-1-137-58417-5
Verlag: Palgrave Macmillan UK
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 250 Seiten

Reihe: Literature, Cultural and Media Studies (R0)

This book broadens the frameworks by which horror is generally addressed.  Rather than being constrained by psychoanalytical models of repression and castration, the volume embraces M.M. Bakhtin's theory of the grotesque body.  For Bakhtin, the grotesque body is always a political body, one that exceeds the boundaries and borders that seek to contain it, to make it behave and conform.  This vital theoretical intervention allows Transnational Horror Cinema to widen its scope to the social and cultural work of these global bodies of excess and the economy of their grotesque exchanges.  With this in mind, the authors consider these bodies' potentials to explore and perhaps to explode rigid cultural scripts of embodiment, including gender, race, and ability.


Sophia Siddique is Associate Professor in the Department of Film at Vassar College, USA. Her research interests include Singapore cultural studies; representations of trauma and memory in Cambodian, Indonesian and Thai cinema; and the impact of new media on Southeast Asia's moving image culture. Sophia teaches film history, contemporary Southeast Asian Cinemas and genres (horror and science fiction).

Raphael Raphael lectures at the Center for Disability Studies at the University of Hawaii at Manoa, where he is also Associate Editor of The Review of Disability Studies.  He is co-editor of Transnational Stardom: International Celebrity in Film and Culture (2013). His film and media scholarship is also informed by his practice as digital artist.

Autoren/Hrsg.

Siddique, Sophia

Raphael, Raphael

Inhaltsverzeichnis

1;Notes on Contributors;5
2;Contents;8
3;List of Figures;10
4;Acknowledgements;11
5;Chapter 1: Introduction;13
5.1;Theoretical Intervention: Mikhail Bakhtin and the Grotesque Body;15
5.2;Theoretical Intervention: Dis/Ability: Destabilizing Cultural Scripts of Embodiment;17
5.2.1;Part I: Questions of Genre;18
5.2.1.1; Mike Dillon;18
5.2.1.2; Kevin Wynter;19
5.2.1.3; Sangjoon Lee;20
5.2.2;Part II: The Horrific Body (Disability and Horror);21
5.2.2.1; Julia Gruson-Wood;21
5.2.2.2; Stefan Sunandan Honisch;22
5.2.2.3; Moritz Fink;22
5.2.2.4; Paul Rae Marchbanks;23
5.2.3;Part III: Responses to Trauma;24
5.2.3.1; Mary J. Ainslie;24
5.2.3.2; Raphael Raphael;25
5.2.3.3; Sophia Siddique;26
5.3;References;26
6;Part I: Questions of Genre;28
6.1;Chapter 2: Butchered in Translation: A Transnational “Grotesuqe”;29
6.1.1;Unrated and Unauthorized;33
6.1.2;(Mis)Translation;40
6.1.3;The Generic Image of Torture (Porn);44
6.1.4;“Grotesuqe”;47
6.1.5;Notes;48
6.1.6;References;48
6.1.6.1;Filmography;50
6.2;Chapter 3: An Introduction to the Continental Horror Film;52
6.2.1;Phases of the Horror Film;54
6.2.2;The Rise of the Serial Killer;56
6.2.3;Without a Trace;60
6.2.4;Continental Horror;65
6.2.4.1;Morbid Curiosity;66
6.2.4.2;The Stranger;67
6.2.4.3;Contingency;68
6.2.4.4;The Banality of Evil;69
6.2.5;Notes;70
6.2.6;References;72
6.3;Chapter 4: Dracula, Vampires, and Kung Fu Fighters: The Legend of the Seven Golden Vampires and Transnational Horror Co-production in 1970s Hong Kong;73
6.3.1;Runaway Production: From Europe to Hong Kong;77
6.3.2;Before the Legend: The Birth of Kung Fu Cinema;79
6.3.3;The Legend Begins: Between Kung Fu and Horror;81
6.3.4;Reading the Legend;84
6.3.5;Epilogue;86
6.3.6;References;86
7;Part II: The Horrific Body (Disability and Horror);89
7.1;Chapter 5: Dead Meat: Horror, Disability, and Eating Rituals;90
7.1.1;Monster Slash: Severing Inside/Outside Boundaries;91
7.1.2;Scare Tactics: Disabling Evil and Normalizing Catharsis;96
7.1.3;Supernaturally Disabled: Flexible, Powerful Monstrous Bodies;99
7.1.4;Dishing Out a Scare: Disability, Monstrosity, and Eating in Horror;102
7.1.5;Monsters Feeding Off Death;103
7.1.6;Developing a Taste for Life and Death: Consumption Rituals in True Blood;104
7.1.7;Manners and Mad Gods: Meat, Mental Disability, and Monstrosity in True Blood;107
7.1.8;The Food Critic and the Freak: Grotesque Banquets and Disability Identity;111
7.1.9; Conclusion;113
7.1.10;Notes;114
7.1.11;References;117
7.2;Chapter 6: Music, Sound, and Noise as Bodily Disorders: Disabling the Filmic Diegesis in Hideo Nakata’s Ringu and Gore Verbinski’s The Ring;120
7.2.1;Horror Films: Monstrosity and Transnational Fictions of the Normal;120
7.2.2;Disability as “Narrative Prosthesis”: Musical, Sonic, and Noisy Representations of Disability in Transnational Horror;124
7.2.3;Musical, Sonic, and Noisy Representations of Disability in Hideo Nakata’s Ringu, and Gore Verbinski’s The Ring;128
7.2.4;The Future of Music, Sound, and Noise in Transnational Horror Films;135
7.2.5;References;136
7.3;Chapter 7: An Eyepatch of Courage: Battle-Scarred Amazon Warriors in the Movies of Robert Rodriguez and Quentin Tarantino;139
7.3.1;The (Disfigured) Amazon;142
7.3.2;Exploitation Film Revisited: Women Warriors and Transnational Cinema;144
7.3.3;An Eye for an Eye: Revenge in Thriller;146
7.3.4;“Kill the Bitch”: Kill Bill’s Eyepatched Villainess;150
7.3.5;The Eyepatch as Eye Catcher: Machete’s Super-Amazon;152
7.3.6;From Go-Go Girl to Zombie-Killing Machine in Transnational Borderlands;154
7.3.7; Conclusion;158
7.3.8;Notes;159
7.3.9;References;161
7.3.9.1;Filmography;163
7.4;Chapter 8: Scary Truths: Morality and the Differently Abled Mind in Lars von Trier’s The Kingdom;165
7.4.1;Bloodied Stitches: Amalgamating a New Brand of Horror;166
7.4.2;Masters of the Cosmetic: Western Medicine and Intellectual Difference;168
7.4.3;Dishwashers with Depth: A Counterpoint to Medical Eugenics;172
7.4.4;Notes;179
7.4.5;References;180
8;Part III: Responses to Trauma;183
8.1;Chapter 9: Towards a Southeast Asian Model of Horror: Thai Horror Cinema in Malaysia, Urbanization, and Cultural Proximity;184
8.1.1;introduction;184
8.1.2;The International Growth and Urbanness of Thai Cinema;187
8.1.3;Thai Horror in Malaysia—Cultural Proximity and a Southeast Asia Model of Horror?;192
8.1.4;Difference as Attraction;196
8.1.5;Censorship;201
8.1.6; Conclusion;204
8.1.7;Notes;205
8.1.8;References;206
8.2;Chapter 10: Planet Kong: Transnational Flows of King Kong (1933) in Japan and East Asia;209
8.2.1;Towards Understanding an Especially Ambivalent Text;209
8.2.2;Chronotope of King Kong (1933);212
8.2.3;“Good Kongs” and “Bad Kongs”;214
8.2.4;Notes;221
8.2.5;References;223
8.2.5.1;Filmography;224
8.3;Chapter 11: Embodying Spectral Vision in The Eye;225
8.3.1;Introduction;225
8.3.2;The Eye as Transnational Text;228
8.3.3;Phantasmic Geography;231
8.3.4;Grotesque Bodies: Mun-Ling and Film-Spectator;233
8.3.5; Conclusion;237
8.3.6;References;238
9;Index;239