Korean Horror Cinema

Alison Peirse is Programme Leader in Film and Television Studies at the University of Northumbria. She researches international horror film and television and is the author of After Dracula: The 1930s Horror Film (I.B. Tauris). Her work has been published in Gothic Studies, Asian Cinema, Visual Culture in Britain, Studies in European Cinema and Journal of Adaptation in Film and Performance. 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).

• AcknowledgementsForeword, Julian StringerContributorsIntroduction, Alison Peirse and Daniel MartinPart I: Classic Korean Horror1. Family, Death and the Wonhon in Three Films of the 1960s, Hyangjin Lee2. Creepy Liver-Eating Fox Ladies: The Thousand Year Old Fox and Korea’s Gumiho, Alison Peirse and James Byrne3. War Horror and Anti-Communism: From Piagol to Rainy Days, Mark Morris4. Mother’s Grudge and Woman’s Wail: The Monster-Mother and Korean Horror Film, Eunha OhPart II: Contemporary ‘Domestic’ Horror5. Heritage of Horrors: Reclaiming the Female Ghost in Shadows in the Palace, Yun Mi Hwang6. From Acacia to Uninvited: Adoption Anxiety in Korean Horror Cinema, Hye Seung Chung7. Apartment Horror: Sorum and Possessed, Nikki J. Y. Lee8. The Face(s) of Korean Horror Film: Toward a Cinematic Physiognomy of Affective Extremes, David Scott Diffrient9. Death Bell and High School Horror, Chi-Yun ShinPart III: Contemporary ‘International’ Horror10. Between the Local and the Global: ‘Asian Horror’ in Ahn Byung-ki’s Phone and Bunshinsaba, Daniel Martin11. Diary of a Lost Girl: Victoriana, Intertextuality and A Tale of Two Sisters, Robert L. Cagle12. From A Tale of Two Sisters to The Uninvited: A Tale of Two Texts, Leung Wing-Fai13. Oldboy goes to Bollywood: Zinda and the Transnational Appropriation of South Korean ‘Extreme’ Cinema, Iain Robert Smith14. Park Chan-wook’s Thirst: Passion, Guilt and Exsanguination, Kyu Hyun KimGlossaryBibliographyIndex

The book is written by contributors who understand both Korean and western cultures, which adds credibility to its analysis of Korean horror films in both national and international cinematic contexts. Throughout the book, the reader is introduced to a substantial history of Korean horror cinema and even readers with no knowledge of Korean films and culture will find the book useful. However, scholars and students in the field of Korean Film Studies will find the book essential. It is clearly arranged, accessible, well written and, most of all, its descriptions of Korean horror films are as fascinating as the chilling horror films that captivate us.'