The non-Asian

April 2, 2023 – 09:09 am



To enter the established mechanisms of the American cinema, horror films from South-East Asia exploit the policy of Hollywood 'updated remake'

One of the most important cinematic phenomena of recent times is undoubtedly the'' invasion 'of the western market by horror films from South-East Asia; nutritissimo a number of works has in fact decreed the artistic and commercial success of this trend, which has subsequently exploited the politics of Hollywood 'remake updated' to enter in some way in the established mechanisms of American cinema. Think of successful films such as " The Ring "(id., 2002) by Gore Verbinski or " Dark Water "(id., 2004) by Walter Salles , both remakes - obviously replicated according to the aesthetics and taste of the U.S. - two homonyms of Hideo Nakata.

If, from the standpoint this wave of Asian horror film certainly possesses many and remarkable quality, especially due to a big job of stylization within the time and in the management of narrative tension, what - in my opinion - is instead a certain awkwardness in the their successful completion is in the design of the story. In the vast majority of cases we see, in fact, a plot that tends excessively to rationalize the supernatural element, the 'evil' that is unleashed that from the beginning of the story: the narrative structure of the element will always involve an invasion evil within a human universe at the beginning unconscious, so as that the plain narrative melt instead increasingly responsible advent of 'evil'.

If we use as an example quest'appena out, fascinating " Shutter "(id., 2004), we can not fail to notice that its narrative structure seeks to rationalize the horror component inserting it in an ethical context, and especially logic that justifies in some way 'intervention avenger. This process might be called a 'justification' horror somehow I think it diminishes its scope scary: evil is all the more terrifying as irrational, random, disconnected from any possible logical connection.

American cinema of the past had fully understood this fundamental distinction, coming to put it in between their very different films by themes horrific and production process; du total independence as a cult classic " Night of the Living Dead "(Night of the Dead 1968 ) by George A. Romero to a super-production as " The Exorcist "(The Exorcist, 1973) by William Friedkin , the "other, being supernatural and monstrous comes to attack the status quo without any apparent logic of cause / effect - or rather, action / reaction -, producing in both cases masterpieces of atmosphere and tension throbbing.

Also work more uneven and perhaps overstated as the other cult classic " The Texas Chainsaw Massacre "(The Texas Chainsaw Massacre, 1974) concerns a threat in itself has its own reason to be, and is not to answer a few external inputs generated by the victims themselves.

Horror as evil that attacks the normal without any criterion, in an irrational and therefore even more violent: this is the element that Asian horror films has somehow put aside, contaminating the genre with a surplus of narrative circularity which belongs perhaps most other genres, not surprisingly, filigree present in all these films, see for example the melodrama.


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Usually asian films

They make the best
infection, autditioin, original ring, grudge and dark water, to many to list actually.
hellraiser, i like rob zombies work, pet cemetary was good...usually older american ones, the kind with a plot, i haven't seen drag me to hell yet, but its on the list.
again, to many to list, i've loved horror films since i was a kid.

Asian Cinema

Is anyone into it? i just got some import dvds...
ju-on (the first two 'grudge' movies)
ong bak (muay thai fighting)
cursed (teen girl horror)
house of flying daggers (chinese joint a la 'hero' or 'crouching tiger')
devilman (HORRIBLY translated action/manga-based movie, apparently the translator spoke neither japanese or engrish)
bangkok dangerous (havent watched yet)
various bruce lee films

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