Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Colonialism in china
Colonialism in china
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Colonialism in china
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...
... middle of paper ...
...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,
In the novel The Woman Warrior Maxine Hong Kingston uses ghosts to represent a battle between American and Chinese cultures. The two cultures have different views of what a ghost is. The Chinese believe the ghost spirits may be of people dead or alive. Chinese culture recognizes foreigners and unfamiliar people as ghosts because, like American ghosts, they are mysterious creatures of the unknown. Americans view ghosts as spirits of the dead that either help or haunt people. American ghosts may or may not be real. There spirits are there but physical appearance is a mystery.
The Haunting of Hill House is a gothic horror novel written by Shirley Jackson. Supernatural occurrences take place within the house revolving around Eleanor. Eleanor is a thirty-two-year-old woman who never once has felt the sense of inclusion. Eleanor seems to never recall the feeling of delight in her adult years due to the fact that she was a caretaker for her now deceased Mother; who took away most of her freedom by being incredibly restrictive. Dr. Montague, a doctor that specializes in analysis of the supernatural rents Hill House, a supposedly haunted house. During the renting period, Dr. Montague begins an experiment inviting individuals who have had involvement in abnormal events
Perhaps one of the biggest issues foreigners will come upon is to maintain a strong identity within the temptations and traditions from other cultures. Novelist Frank Delaney’s image of the search for identity is one of the best, quoting that one must “understand and reconnect with our stories, the stories of the ancestors . . . to build our identities”. For one, to maintain a firm identity, elderly characters often implement Chinese traditions to avoid younger generations veering toward different traditions, such as the Western culture. As well, the Chinese-Canadians of the novel sustain a superior identity because of their own cultural village in Vancouver, known as Chinatown, to implement firm beliefs, heritage, and pride. Thus in Wayson Choy’s, The Jade Peony, the novel discusses the challenge for different characters to maintain a firm and sole identity in the midst of a new environment with different temptations and influences. Ultimately, the characters of this novel rely upon different influences to form an identity, one of which being a strong and wide elderly personal
While there are many different ways to classify a Neo-noir film, Roman Polanski’s, Chinatown captures many. The 1974 movie consists of many of these elements, including both thematic and stylistic devices. One of the main themes of neo-noir film that is constant throughout the film is the deceptive plot that questions the viewers’ ideas and perceptions of what is actually happening in the film. Every scene of Chinatown leads to a twist or another turn that challenges the practicability of the film’s reality. All of the never-ending surprises and revelations lead up to the significant themes the movie is trying to convey in the conclusion of the film.
Horror genre conventions are evident in both films and the way they are directed has given me obvious indications on the effect the horror conventions can have on a film when used well, and the adverse effect when not used well. Both Japanese and American society are evident in these films, and the style of the films are similar to the nationality of the two directors. Horror conventions are used in both films, but the way they are used are quite different, and these contrasting styles are key in how effective the two films are to their audience.
In his 1937 film Street Angel, Yuan explores the inequities facing Shanghai’s urban proletariat, an often-overlooked dimension of Chinese society. The popular imagination more readily envisions the agrarian systems that governed China before 1919 and after 1949, but capitalism thrived in Shanghai during that thirty-year buffer between feudalism and Communism. This flirtation with the free market engendered an urban working class, which faced tribulations and injustices that supplied Shanghai’s leftist filmmakers with ample subject matter. Restrained by Kuomintang censorship from directly attacking Chinese capitalism, Yuan employs melodrama to expose Street Angel’s bourgeois audience to the plight of the urban poor. Yuan presents capitalist Shanghai as a binary and deeply unequal society, at odds with the “more pluralistic sense of cosmopolitanism” desired by leftist filmmakers of the 1930s (Pang 62).
The viewer sees a private eye and beautiful client. First thought, "It’s definitely another Hollywood crime drama." On the surface, Chinatown has all the elements of a film noir: the presence of a beautiful but dangerous woman, otherwise known as the femme fatale, a gritty urban setting, compositional tension (highly contrasting light and dark colors or oblique camera angles), and themes of moral ambiguity and alienation. Chinatown, however, is different. Polanski shot Chinatown with color film, and though his colors do appear especially vivid, color film precludes the contrast intensity that black and white film offers. In addition, Evelyn is not the classic femme fatale. Though Jake mistakes her for her husband’s killer at first, Mrs. Mulwray eventually emerges as the story’s most tragic victim. Yes, Chinatown for the most part conforms to the structure of film noir, but this film departs from the general genre, creating an entirely different element in which Roman Polanksi examines not only big-money corruption and its malignant obsession with money, but also larger, more human themes such as ignorance, authority, and the pervasiveness of evil.
The genre of horror films is one that is vast and continually growing. So many different elements have been known to appear in horror films that it is often times difficult to define what is explicitly a horror film and what is not. Due to this ambiguous definition of horror the genre is often times divided into subgenres. Each subgenre of horror has a more readily identifiable list of classifications that make it easier to cast a film to a subgenre, rather than the entire horror genre. One such subgenre that is particularly interesting is that of the stalker film. The stalker film can be categorized as a member of the horror genre in two ways. First, the stalker film can be identified within the horror genre due to its connection with the easily recognizable subgenre of horror, the slasher film. Though many elements of the stalker film differ from those of the slasher film, the use of non-mechanical weapons and obvious sexual plot points can be used to categorize the stalker film as a subgenre of the slasher film. Secondly, the stalker film can be considered a member of the horror genre using Robin Wood’s discussion regarding horror as that which society represses. The films Fatal Attraction, The Fan, and The Crush will be discussed in support of this argument. (Need some connector sentence here to finish out the intro)
Chu, Shuangyue. Hong Kong Nostalgia Movies: Pursuing and Constructing Identity. Beijing: China Film Press, 2011. Print.
The Nelly Butler hauntings is referred to as the first recorded ghost story in American history (LiBrizzi 5), and possibly the most exciting hauntings to date as there are still many unsolved mysteries. The apparition appeared on more than 30 separate occasions to over 100 witnesses in Sullivan, Maine, just over fifteen years after the American Revolution (5-6). Although the Nelly Butler apparition is one of the most convincing ghosts of all time, it was subject to suspicions of fraud. These claims turn out to be groundless as the evidence reveals the ghost to be genuine.
Horror films are designed to frighten the audience and engage them in their worst fears, while captivating and entertaining at the same time. Horror films often center on the darker side of life, on what is forbidden and strange. These films play with society’s fears, its nightmare’s and vulnerability, the terror of the unknown, the fear of death, the loss of identity, and the fear of sexuality. Horror films are generally set in spooky old mansions, fog-ridden areas, or dark locales with unknown human, supernatural or grotesque creatures lurking about. These creatures can range from vampires, madmen, devils, unfriendly ghosts, monsters, mad scientists, demons, zombies, evil spirits, satanic villains, the possessed, werewolves and freaks to the unseen and even the mere presence of evil.
Modern day horror films are very different from the first horror films which date back to the late nineteenth century, but the goal of shocking the audience is still the same. Over the course of its existence, the horror industry has had to innovate new ways to keep its viewers on the edge of their seats. Horror films are frightening films created solely to ignite anxiety and panic within the viewers. Dread and alarm summon deep fears by captivating the audience with a shocking, terrifying, and unpredictable finale that leaves the viewer stunned. (Horror Films)
Modernization in the 1980s paved the way for the Hong Kong New Wave, as the studio system set up in the 1950s was dismantled, the film industry experienced more freedom. Since decolonization was heavily present 75% of Hong Kong’s box office revenue were home grown movies, while the meager 15% was left for the foreign market. As one can see the political context of Ho...
a dull grey colour as if it had lost the will to live and stopped
Historical conceptions of China’s culture and global position shaped the PRC’s perspective. Central to this is Sino-centrism and its edict from heaven for dynastic China to spread civilisation (Xinning 2001: 70). Imperial China’s tribute system represented a “Pax Sinica” and the physical manifestation of Sino-centrism, with its success affirming Chinese cultural superiority (Y. Zhang 2001: 52). Instructive in this is Sino-centrism’s similarity to, and conflict with American Manifest Destiny, itself an articulation that Anglo-Saxon American’s are God’s chosen people, with a superior culture and who are pre-ordained to spread civilisation to inferior peoples (Hollander 2009: 169). The PRC’s nationalism can be seen in part as a rejection of this competing celestial mandate, linking China’s decline to foreign intervention and the acceding to unequal treaties that saw the loss of peripheral territories considered intrinsic to historic China (Kissinger 2011: 112). In this way, the PRC’s formation as a modern nation state is the recrudescence of Sino-...