Horror in China in the Case Study, A Chinese Ghost Story

National Identity is the notion and cohesive whole of a nation. It’s the particular way factors such as culture, language and tradition build a nation. In this essay I will examine how Hong Kong (HK) horror is empirical to the nation’s identity. My case study will be ‘A Chinese Ghost Story’ (1987) as well as other supportive substantiations i.e. Books and websites.

The integrity within Chinas national identity is said to be ephemeral changing since the archaic China. After The Treaty of Nanjing (1842-1997) was signed to end the first Opium war, HK became a crown colony of the Great British Empire (GBE) on a lease for 99 years. China had become lost, what was once part of their nation’s identity had been taken. People of Kowloon began to lose their traditions, and their culture was beginning to disappear with new ports opening bringing Western products into China. HK horror between 1842 and 1997 has arguably been influenced by Western cinema – “It has been argued that Western film critics are simply asserting a kind of cultural imperialism by imposing their own perspectives on non-western film” – Kaplan, A. E. (1997). Looking for the other : Feminism, film, and the imperial gaze. New York: Routledge. A Chinese Ghost story is a narrative about the unrequited love Ling Choi San shares with a ghost (Lip Siu Sin) who has the intentions to kill. Can the differential dominance in these characters be a replica of the relationship between Britain and HK? “It’s a shame you came to the wrong place, otherwise you wouldn’t have to die such a wrongful death” – A Chinese Ghost Story, Lip Siu Sin. This quote can relate to what China believed, that Great Britain knew the ascendancy of HK was great, therefore they made it part of the GBE. The scen...

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...continues. Characters seen in HK horror carry a particular structure which isn’t seen in Western cinema, they come across full of meaning such as the idea of evil love (Lip Siu Sin and her lover) and religion i.e. Buddhism, Taoism. HK horror has evidently disappeared in the recent years, and with HK’s identity being put up for debate in the same period of time, it can be said the relation between national identity and HK horror is strong. Type of characters seen in Eastern films are differential to Western films; without a real protagonist in films i.e. Intruder, the audience can focus more on the narrative i.e. the complication faze, which is highlighted by critics to have a symbolic meaning. The idea of Hong Kong lacking the presentation of national identity in their horror films can indubitably be taken into consideration with box office charts high with action,