Hong Kong Horror Cinema

出版者:Edinburgh University Press

作者:Gary Bettinson; Daniel Martin

页数:192

出版时间:2018-2-1

价格:USD 110.00

装帧:Hardcover

isbn号码:9781474424592

具体描述

The first book-length English-language study of Hong Kong horror films

Dumplings stuffed with diabolical fillings. Sword-wielding zombies. Hopping cadavers. Big-head babies. For decades, Hong Kong cinema has served up images of horror quite unlike those found in other parts of the world. In seminal films such as A Chinese Ghost Story, Rouge, The Eye, Dumplings, and Rigor Mortis, the region’s filmmakers have pushed the boundaries of genre, cinematic style, and bad taste. But what makes Hong Kong horror cinema so utterly unique? Why does it hold such fascination for “serious” cinephiles and cult fans alike? Hong Kong Horror Cinema is the first English-language study of this delirious and captivating cinematic tradition, offering new insights into the history of Hong Kong horror through case studies of classic films and through a detailed consideration of their aesthetic power, economic significance, and cultural impact in both the global and domestic market.

Contributors

Gary Bettinson, Lancaster University

Felicia Chan, University of Manchester

Kenneth Chan, University of Northern Colorado

David Scott Diffrient, Colorado State University

Andrew Grossman, Independent Scholar

Enrique Ajuria Ibarra, Universidad de las Américas Puebla, Mexico

Vivian Lee, City University of Hong Kong

Liang Luo, University of Kentucky

Daniel Martin, Korea Advanced Institute of Science and Technology (KAIST)

Lisa Odham Stokes, Seminole State College, Central Florida

Raymond Tsang, New York University

Andy Willis, University of Salford

作者简介

Gary Bettinson is Senior Lecturer in Film Studies at Lancaster University. He is the author of The Sensuous Cinema of Wong Kar-wai: Film Poetics and the Aesthetic of Disturbance (Hong Kong University Press, 2015) and editor of Asian Cinema (Intellect Press).

Daniel Martin is Associate Professor of Film Studies in the School of Humanities and Social Sciences at the Korea Advanced Institute of Science and Technology (KAIST). His recent research concerns the international circulation of films from East Asia. He is the author of Extreme Asia: The Rise of Cult Cinema from the Far East (Edinburgh University Press, 2015), co-editor of Korean Horror Cinema (Edinburgh University Press, 2013).

目录信息

Acknowledgements
Notes on Contributors
Introduction; Gary Bettinson & Daniel Martin
Part I: Formations and Fragmentations: The Development of Hong Kong Horror
Chapter 1: What Can a Neoi Gwei Teach Us? Adaptation as Reincarnation in Hong Kong Horror of the 1950s; Raymond Tsang
Chapter 2: The White Snake in Hong Kong Horror Cinema: From Horrific Tales to Crowd Pleasers; Liang Luo
Chapter 3: From Killer Snakes to Taxi Hunters: Hong Kong Horror in an Exploitation Context; Andy Willis
Chapter 4: The Enduring Cult of The Bride with White Hair: Chivalry and the Monstrous Other in the Hong Kong Fantasy-Horror; Daniel Martin
Part II: Genre Hybridity: Comedy and Kung-Fu in the Hong Kong Horror
Chapter 5: Animated Pasts and Unseen Futures: On the Comic Element in Hong Kong Horror; Andrew Grossman
Chapter 6: Performing (Comic) Abjection in the Hong Kong Ghost Story; Felicia Chan
Chapter 7: Hands, Fingers, and Fists: ‘Grasping’ Hong Kong Horror Films; David Scott Diffrient
Chapter 8: Tsui Hark’s Detective Dee Films: Police Procedural Colludes with Supernatural-Martial Arts Cinema; Kenneth Chan
Part III: Transnational Trends: Globalization and Politics in Contemporary Hong Kong Horror
Chapter 9: Cross-Border Implications: Transnational Haunting, Gender, and the Persistent Look of The Eye; Enrique Ajuria Ibarra
Chapter 10: Food for Thought: Cannibalism in The Untold Story and Dumplings; Lisa Odham Stokes
Chapter 11: Sympathy for the Slasher: Strategies of Character Engagement in Pang Ho-cheung’s Dream Home; Gary Bettinson
Chapter 12: Ghostly Returns: The Politics of Horror in Hong Kong Cinema; Vivian Lee
· · · · · · (收起)

用户评价

谈谈影片的美术指导和道具陈设吧，这部分工作量巨大，而且极具辨识度。它成功地将我们对老香港的怀旧情结与纯粹的超自然恐怖元素无缝嫁接。那些老旧的唐楼，斑驳的墙纸，堆满杂物的狭窄楼道，不仅仅是背景，它们本身就是故事的一部分，仿佛每一个角落都积蓄了多年的怨气。我特别留意了其中出现的一个被废弃的戏台场景，道具组对旧戏服的做旧处理简直是神来之笔，上面的灰尘和霉斑都仿佛拥有自己的生命和故事。它没有依赖廉价的CGI特效来制造怪物，而是更多地通过环境的布置和光线的扭曲来暗示“存在”的恐怖。这种“少即是多”的美学理念在恐怖片中是很难把握的，但本片做到了。它让你相信，那些潜伏在日常之中的，才是最难摆脱的梦魇，而不是那些凭空出现的鬼影。这体现了创作者对“本土恐怖符号学”的深刻理解和尊重。

我发现这部电影在角色塑造上，也跳脱出了传统恐怖片中“无脑受害者”的刻板印象。这里的每个人物，无论正邪，都有着非常清晰的动机和复杂的道德困境。那位看似无辜的邻居，他的善良背后隐藏着对往事无法释怀的执念；而那位被视为疯癫的老者，他的预言却成了指引主角逃出生天的关键线索。电影花了大量的篇幅去铺垫这些角色的“人味儿”，使得当他们最终走向悲剧结局时，观众感受到的不仅仅是恐惧，更是一种深沉的共情和惋惜。这种对复杂人性的挖掘，让整部影片的格局一下子拔高了，它不再仅仅是一部吓人的片子，而是一出探讨人性在极端压力下如何扭曲和坚持的寓言。这种对人物内心世界的深入挖掘和细腻刻画，无疑是影片最坚实的地基，确保了即使是惊悚元素退去，其影响力依然能在脑海中久久回荡，引发持续的思考。

我必须说，这部影片的叙事结构非常大胆，甚至可以说有点反传统。它没有采用线性的时间叙事，而是像一块块被打碎的镜子，通过不同角色的碎片化记忆和视角来拼凑出一个宏大而又诡异的事件真相。初看的时候可能会有点费力，需要集中十二分的注意力去梳理那些跳跃的时间线和错综复杂的人物关系，但一旦你跟上了导演的节奏，那种“啊，原来是这样！”的恍然大悟感，带来的满足感是无与伦比的。这种解构主义的手法，无疑提高了影片的艺术门槛，但它成功地避免了落入俗套的惊悚片公式。更难能可贵的是，在解谜的过程中，影片并没有削弱恐怖的内核，反而因为我们对背景故事了解得越多，那种宿命般的悲剧色彩就越发浓厚。它探讨的主题很深刻，关于集体记忆的创伤、城市化进程中被遗忘的角落，以及个体面对巨大体制时的无力感，这些都通过极其风格化的画面语言表达了出来，远超一般爆米花电影的范畴。

这部电影的视觉冲击力简直是爆炸性的，从开场那段雨夜追逐戏开始，我的心跳就没真正慢下来过。导演对光影的运用达到了炉火纯青的地步，那种湿漉漉的、带着霓虹反光的街道，配合着时不时闪现的幽暗小巷，营造出一种让人喘不过气来的压抑感。特别是那位女主角，她的表演简直是教科书级别的，那种从极度恐惧到最终爆发的转变，层次感丰富得惊人。我注意到一个细节，在某个关键场景中，背景里那个老旧的电风扇转动的声音，几乎和她紧张的呼吸声融为一体，这种音效处理的细腻程度，真的很少在商业片中见到。整部片子的节奏掌控得也非常好，它不是那种单纯靠“jump scare”来吓唬观众的作品，而是深挖角色的内心恐惧，让你从精神层面感到毛骨悚然。看完之后，我感觉自己需要好久才能从那种被黑暗笼罩的氛围中抽离出来。摄影师绝对是功臣，很多构图都像一幅幅精心设计的恐怖艺术品，尤其是对香港这座城市独特建筑美学的捕捉，既熟悉又陌生，将都市的疏离感和人性的孤独感展现得淋漓尽致。

从音效设计的角度来看，这部电影简直是一场听觉的盛宴，或者说，是一场听觉的折磨，但却是高质量的那种。它的配乐并非那种标准的、煽情的大提琴或管弦乐，而是大量运用了非传统的噪音和环境音效。比如，那种从墙壁内部传来的低频嗡鸣声，让人感觉地基都在颤抖；还有那些刻意拉长的、失真的童谣片段，听起来毛骨悚然。我尤其欣赏它对“寂静”的处理，很多时候，最恐怖的瞬间不是声音爆发的时候，而是突如其来的、令人不安的绝对安静，这种对比制造出的张力，比任何尖叫都来得有效。在某些密闭空间场景中，我甚至能“听见”自己耳膜内部的压力变化，这绝对是混音师精心设计的“心理声学武器”。它强迫观众放弃视觉依赖，转而用最原始的听觉去捕捉潜藏的威胁，这对于恐怖片的体验来说，是极具创新性的提升。我甚至在想，是不是应该戴上降噪耳机再看一遍，以获得更纯粹的“声音入侵感”。

different readings of HK horror cinema

different readings of HK horror cinema

different readings of HK horror cinema

different readings of HK horror cinema

different readings of HK horror cinema