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Books on the topic 'Horror films – China'

Author: Grafiati
Published: 30 June 2021
Last updated: 17 February 2022

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1

King, Stephen. Danse macabre: Die Welt des Horrors in Literatur und Film. 2nd ed. München: Heyne, 1989.

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2

King, Stephen. Danse macabre. London: Macdonald, 1992.

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3

King, Stephen. Danse macabre. Roma-Napoli: Edizioni Theoria, 1985.

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4

King, Stephen. Stephen King's Danse Macabre. New York, USA: Berkley Books, 1986.

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5

King, Stephen. Danse Macabre. London, England: Warner Books, 2000.

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6

King, Stephen. Pli︠a︡ska smerti. Moskva: AST, 2001.

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7

King, Stephen. Stephen King's danse macabre. 2nd ed. New York: Berkley Books, 2001.

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8

King, Stephen. Stephen King's Danse Macabre. New York, USA: Berkley Books, 1985.

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9

King, Stephen. Stephen King's Danse Macabre. London: Futura, 1985.

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10

King, Stephen. Danse macabre. New York: Gallery, 2010.

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11

King, Stephen. Stephen King's Danse Macabre. New York: Berkley Books, 1986.

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12

King, Stephen. Danse Macabre. 2nd ed. London: Hodder, 2004.

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13

Martin, Daniel, and Gary Bettinson. Hong Kong Horror Cinema. Edinburgh University Press, 2019.

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14

Hong Kong Horror Cinema. Edinburgh University Press, 2018.

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15

Lee, Vivian. Ghostly Returns: the Politics of Horror in Hong Kong Cinema. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0013.

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This chapter examines the trend towards Hong Kong-China co-productions, during which Hong Kong horror films have been in decline due to censorship restrictions in Mainland China. While this mega-market direction is likely to continue in the foreseeable future, Hong Kong filmmakers have made fresh attempts to revitalize this popular genre and inject it with new meanings in the changed and changing context of cultural production and cultural politics in the city. Between 2012-2014, several low to medium budget horror films were released. Local audiences responded enthusiastically and many saw these as a sign of the resilience of the local popular culture to counter or at least deflate the hegemony of the Mainland market. This chapter traces the trajectory of Hong Kong horror through the pre- and post-handover decades, situating horror within the evolving discourse of identity and the issues of local histories and collective memory. It also elaborates on the politics of horror as seem from horror films produced and released in the midst of escalating social and political tensions attributable to a popular/populist “anti-China localism”. The chapter further reflects on the cultural politics of delocalization and relocalization in the context of “re-occupying Hong Kong screens.”
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Bettinson, Gary, and Daniel Martin. Introduction. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0001.

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This introduction to Hong Kong Horror Cinema introduces Hong Kong horror from a variety of perspectives, charting the history and development of the genre and citing key films and filmmakers; it puts Hong Kong horror in the context of East Asian horror more broadly, discussing some of the cultural specificities of Hong Kong horror that differentiate it from the popular and historical horror cycles from Japan, South Korea, Thailand and China; it provides a brief overview of horror studies within the field of academic theory, and suggests ways in which Hong Kong horror films can contribute new perspectives to these well-rehearsed arguments. A brief survey of literature covers the major related works from the fields of Hong Kong cinema and horror film history, and in doing so, makes a case for the importance, timeliness and originality of this anthology. The introduction also includes a chapter-by-chapter breakdown of Hong Kong Horror Cinema, explaining the division of chapters into sections and drawing pertinent connections between the varied studies that follow.
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Stokes, Lisa Odham. Food for Thought: Cannibalism in The Untold Story and Dumplings. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0011.

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Food features prominently in Hong Kong cinema, from the infamous “Eat my rice” scene in Woo’s heroic bloodshed A Better Tomorrow 2 to the special recipes of dueling restaurants in the Hui Brothers’ comedy Chicken and Duck Talk. While in many action movies, dramas and comedies, food brings people together, in Hong Kong horror films, food carries more ominous overtones. Cannibalism serves as the main course in Herman Yau’s Untold Story (aka Human Pork Buns) and Fruit Chan’s Dumplings (the former drawn from a real case and the latter a short and feature). Both explore the political and social underpinnings of their time. Untold Story (1993) is an excellent example of crisis cinema- in your face, low budget, high anxiety over the return of Hong Kong to China. Dumplings (2004) reflects the post-postmodern fascination with a youth culture, at any costs. Both films mark class distinctions and reflect the cultural importance of food in Chinese society as well as provide comment on their times.
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18

King, Stephen. Danse Macabre. Die Welt des Horrors. Ullstein Tb, 2000.

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19

King, Stephen. Danse Macabre. Tandem Library, 1987.

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20

Danse macabre. Jean-Claude Lattès, 1993.

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21

King, Stephen. Danse Macabre. Pocket Books, 2011.

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22

King, S. Danse Macabre. Livre de Poche, 2010.

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23

King, Stephen. Danse Macabre. Time Warner Paperbacks, 1991.

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24

King, Stephen. Plyaska smerti. AST, 2005.

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25

Danse macabre. Wydawnictwo Prószyński i S-ka, 2014.

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26

Plyaska smerti. AST, 2001.

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27

King, Stephen. Danse Macabre. Berkley, 1985.

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28

King, Stephen. Plyaska smerti. AST, 2004.

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29

Danse Macabre. Wydawnictwo Prószyński i S-ka, 2014.

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30

Shining / Salem / Danse macabre. Paris: J.C. Lattès, 1990.

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