In this Book

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This book compares production and consumption of Asian horror cinemas in different national contexts and their multidirectional dialogues with Hollywood and neighboring Asian cultures.

Table of Contents

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  1. Cover
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  1. Frontmatter
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  1. Contents
  2. pp. v-vi
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  1. List of Contributors
  2. pp. vii-ix
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  1. Introduction
  2. pp. 1-12
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  1. I. Contesting Genres: From J-horror to “Asia Extreme”
  1. 1. J-horror: New Media’s Impact on Contemporary Japanese Horror Cinema
  2. pp. 15-37
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  1. 2. A Cinema of Girlhood: Sonyeo Sensibility and the Decorative Impulse in the Korean Horror Cinema
  2. pp. 39-56
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  1. 3. Inner Senses and the Changing Face of Hong Kong Horror Cinema
  2. pp. 57-68
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  1. 4. The Pan-Asian Outlook of The Eye
  2. pp. 69-84
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  1. 5. The Art of Branding: Tartan “Asia Extreme” Films
  2. pp. 85-100
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  1. II. Contextualizing Horror: Film Movement, National History, and Taboo
  1. 6. The Mummy Complex: Kurosawa Kiyoshi’s Loft and J-horror
  2. pp. 103-122
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  1. 7. The Good, the Bad, and the South Korean: Violence, Morality, and the South Korean Extreme Film
  2. pp. 123-143
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  1. 8. Magic, Medicine, Cannibalism: The China Demon in Hong Kong Horror
  2. pp. 145-159
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  1. III. Iconography of Horror: Personal Belongings, Bodies, and Violence
  1. 9. That Unobscure Object of Desire and Horror: On Some Uncanny Things in Recent Korean Horror Films
  2. pp. 163-178
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  1. 10. “Tell the Kitchen That There’s Too Much Buchu in the Dumpling”: Reading Park Chan-wook’s “Unknowable” Oldboy
  2. pp. 179-197
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  1. 11. A Politics of Excess: Violence and Violation in Miike Takashi’s Audition
  2. pp. 199-218
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  1. Notes
  2. pp. 219-247
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  1. Bibliography
  2. pp. 249-259
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  1. Index
  2. pp. 261-273
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