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The Malady Lingers On: the Abject and Contemporary Asian Horror Cinema. by Daniel Stephen Hey Submitted in Partial Fulfilment Of

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The Malady Lingers On: the Abject and Contemporary Asian Horror Cinema. by Daniel Stephen Hey Submitted in Partial Fulfilment Of The Malady Lingers On: The Abject and Contemporary Asian Horror Cinema. by Daniel Stephen Hey Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy University of Salford School of Arts and Media 2018 Table of Contents List of Figures ........................................................................................................................ v Acknowledgements ............................................................................................................. vii Abstract .............................................................................................................................. viii Section 1: Introduction, Literature Reviews, Methodology .................................................. 1 Chapter I: Introduction .......................................................................................................... 2 1.1 Starting Point ............................................................................................................... 2 1.2 Kristeva: Philosophy, Politics, Post-structuralism, Psychoanalysis ............................ 3 1.3 Brief Introduction to Contemporary Asian Horror Cinema ........................................ 5 1.4 Combining the Two Elements: A Dialogue of Film and Theory ................................ 6 1.5 Structure of the Thesis ................................................................................................. 7 Chapter II: Julia Kristeva and the Abject .............................................................................. 9 2.1 Powers of Horror and its Predecessors ....................................................................... 9 2.2 Objections, Rejections, Corrections, Concessions, Compromise, and Accordance in Post-Kristevan Scholarship ............................................................................................. 19 2.2.1 Objections to Abjection ...................................................................................... 19 2.2.2 Different Perspectives......................................................................................... 22 2.2.3 Striking a Balance ............................................................................................... 23 2.2.4 The Abject in Visual Culture .............................................................................. 26 2.3 Barbara’s Creed: One Approach to Abjection Criticism in Horror Cinema ............. 29 2.4 Abjection as a Framework for Critical Analysis ....................................................... 34 2.5 Defining My Stance ................................................................................................... 35 Chapter III: A Guide to Contemporary Asian Horror Cinema ............................................ 37 3.1 Contemporary Asian Horror Cinema: Genre, Sub-Genre, or Cycle? ........................ 37 3.2 What is Contemporary Asian Horror Cinema? Kick-Starting the Cycle with Ringu and Whispering Corridors ............................................................................................... 46 i 3.3 “I Would Heartily Welcome the Union of East and West Provided it is not Based on Brute Force.” (Mahatma Gandhi qtd. in Khoshoo, 2002, p.51) ...................................... 62 Chapter IV: Methodology .................................................................................................... 69 4.1 Methods Established .................................................................................................. 69 4.2 Quantitative or Qualitative approach? ....................................................................... 70 4.3 Theory and Film: In Dialogue ................................................................................... 71 4.4 Film Selection: The Final Cut ................................................................................... 71 Section Two: Narratives of Abjection; Technologies; Myth, Cult, and Fairy Tale ............ 75 Chapter V: The Malady Lingers On: Narratives of Abjection in Ringu, Ringu 2, Dark Water, Uzumaki, and Carved: The Slit-Mouth Woman ....................................................... 76 5.1 Abjection Narratives .................................................................................................. 76 5.2 The Process of Eternal Deferment: Ringu and Ringu 2 ............................................. 78 5.3 Throwing the Baby out with the Bathwater: Abjecting the Maternal Bond in Dark Water ............................................................................................................................... 92 5.4 Spirals, Scissors, Snakes, and Mirrors: Further Narratives of Abjection in Uzumaki and Carved: The Slit-Mouthed Woman ......................................................................... 100 5.5 Conclusion: The Loop ............................................................................................. 109 Chapter VI: Download Something Useful or Useless: Abjection and Technologies in One Missed Call, Phone, Shutter, and Pulse ............................................................................ 111 6.1 The Harsh Truth of the Camera Eye: Showing You What You Didn’t Want Shown in Shutter ....................................................................................................................... 113 6.2 It's Not Your Style to Dial: Mobile Phones in Phone and One Missed Call ........... 118 6.2.1 The More You Ignore Me, the Closer I Get ..................................................... 124 6.2.2 Would You Look into Those “Mother-me” Eyes? ........................................... 128 6.3 I’m the Ghost in the Machine: Abjection and the Internet in Pulse ........................ 131 6.4 Conclusion: There is No Such Thing in Life as Normal ......................................... 139 Chapter VII: The Story is Old, I Know, but It Goes on: Myth, Cult, and Fairy Tale in Noroi: The Curse, Suicide Club, Noriko’s Dinner Table, and Hansel and Gretel ............ 142 ii 7.1 Found, Found, Found (Footage): Myth and Abjection Rituals in Noroi: The Curse ....................................................................................................................................... 143 7.2 I Want to Leave, You Will Not Miss Me: Cult and Identity Crises in Suicide Club and Noriko’s Dinner Table ............................................................................................ 151 7.2.1 Who Am I that I Come to be Here? .................................................................. 151 7.2.2 It’s the End of the World as We Know it (And I Feel Fine) ............................ 160 7.3 I Would Rather Not go Back to the Old House: Fairy Tale in Hansel and Gretel.. 162 7.3.1 Punctured Automobile in a Forest Desolate ..................................................... 162 7.3.2 Man-bok, You’ll Never be a Man .................................................................... 168 7.4 Conclusion: Now, Today, Tomorrow, and Always: Temporal and Spatial Abjection ....................................................................................................................................... 172 Section Three: The High School, the Home, and the Monstrous-Feminine...................... 175 Chapter VIII: The Teachers are Afraid of the Pupils: High School Horror in Whispering Corridors, Death Bell, Memento Mori, and Wishing Stairs .............................................. 176 8.1 Belligerent Ghouls in South Korean Schools .......................................................... 178 8.2 Sonyeo in High School ............................................................................................ 185 8.3 You Understand Change, and You Think it’s Essential .......................................... 192 8.4 Conclusion: Give Up Education as a Bad Mistake ................................................. 195 Chapter IX: So How Can You Call this Home, When You Know it’s a Grave?: The Family and the Home in Ju-On: The Grudge, A Tale of Two Sisters, Acacia, and The Eye ......... 197 9.1 Ambiguous Outsiders .............................................................................................. 198 9.1.1 Stepchild, with Every Petty Swipe, You Just Might Find You’re Fighting for Your Life ................................................................................................................... 199 9.1.2 Smother me, Mother ......................................................................................... 206 9.2 You Say, “Break Up The Family” ........................................................................... 212 9.2.1 The Father Who Must be Killed is the Blight Upon Your Blighted Life ......... 213 9.2.2 Just Supposed I’m Juxtaposed with You .......................................................... 218 9.3 Conclusion: Home is a Question Mark ................................................................... 225 iii Chapter X: Pretty Girls Make Graves: The Monstrous-Feminine in Audition, Dream Home, Dumplings, Lady Vengeance, and Nang Nak ......................................................... 227 10.1 Making the Monster: Agency, Perspective, Narrative, Point-of-View ................. 228 10.1.1 We Put Her in the World’s Glare, and She Turned into a Killer .................... 229 10.2 Border Crossing and Liminal Space ...................................................................... 236 10.2.1 Life is Nothing Much to Lose; It’s Just So Lonely Here Without You ........
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