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I'm a big fan of horror movies because it's rare that they aren't interesting. Whether it is a straight to VOD or the latest theatrical release, there is always something to talk about. I also like to sing, wax philosophical about mythology and religion, contemplate the void, and spend time with my family. I am usually up in my head about something, so apologies if I'm looking off into the middle distance. Along with David, I am a co-founder of Horror Movie Talk.
Grudge Horror Hd Movie Download
The start of the 2000s saw the horror genre going into a slump as movies dealing with the supernatural had mild but not memorable success. Even the re-release of a restored version of The Exorcist in September of 2000 didn't quite cause a stir. Also, near-defunct franchises such as Freddy Vs. Jason somehow made it into theatres.
Since the financial success of the American remake of a Japanese horror film called Ringu (Hideo Nakata, 1998), remaking a well-accepted Asian scary film in its domestic or pan-Asian market has been a recurring phenomenon in the American film industry for the past decade. The particular style of horror films which this paper identifies as the 'New Asian Female Ghost Films' has been the most welcomed Asian genre for the Hollywood project for reworking Asian cinematic originals. narratives focus on the prematurely dead women's grudge and vengeful power. Beyond the commonality in narrative and thematic sharing, the New Asian Female Ghost Films are characterized as the specific iconography of the monstrous feminine with other gendered/gendering imageries and imaginations to reflect as well as the countries' long traditions of female ghost filmmaking and the changed socio-cultural matrixes. This essay addresses to the question of how the marked gender in the New Asian Female Ghost Films is transformed in the American remakes of the films. It examines the various intertextual and contextual influences on the American reproduction of the monstrous feminine and the divided representational modes by sex/gender lines in the Asian originals, including the cinematic and cultural texts the individual remake producers and filmmakers refer to; the conventions of classical and contemporary American horror films; the American/Western assumptions on Asian country, Asian culture, and Asian women, namely, the Asian otherness. The author, broadly describing the generic characteristics of the New Asian Female Ghost Films and their American reworks, analyzes four cases of the American remakes: Shutter (Massyuki Ochiai, 2008), The Eye (David Moreau & Xavier Plaud, 2008), One Missed Call (Eric Valette, 2008) and The Uninvited (Charles Guard & Thomas Guard 2009).
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