Asian Horror Analysis

National identity is a sense of belonging, of identifying with a particular group or nation, distributed by the mass media and reinforced by factors such as language, culture, music, political situation and even cuisine. It changes over time, mostly in accordance with political situations. It is highest in times of wars and elections and is relatively dispersed in the times of no great turmoils. Globalization has also affected the concept of national identity. In Asian horrors, cultural specificity and a sense of national and regional identity can be found as it is built on regional myths, religions and literature. When studying Asian horror, the focus can be on two things: Firstly, on universal, human themes, negating cultural specificities

Its discourse rests on morality and the belief that human beings are intrinsically good and that, through further improvement, they can achieve unity and sustain their relationship with the Heaven. Reality, according to Confucianism, is a network of interactions in which everything in the universe is connected. Its focus lies primarily on human interrelationships and is therefore less concerned with the existence of gods or retribution and more with family and other human aspects of ordinary life, such as hierarchy – a pillar of Asian society. It imposes blind respect for one’s parents, elders and ancestors and can be counterposed with the modern tendency of shattering the nuclear family, as in e.g. Dark Water.

Then there’s Taoism, which, as Boey puts it, advocates “holistic balance through minimal action”. It offers no problem solution whatsoever and advocates patience. Its lack of punishment encourages the existence of grudge and vengeance in the Asian society. “Taoism offers no concrete solutions to those who have been wronged”. Time will resolve all conflicts. The lack of divine interference and retribution explains why “grievances are suppressed and how grudge culture is developed” (61 –

Furthermore, the demonization of children and their loss of innocence represents a universally recognizable concept, cross-culturally relatable and adaptable for foreign markets.

Ghosts have always been important figures of Asian mythology and folklore, so it is of no surprise that they have become the signature theme of Asian horror. Asian countries even have a traditional annual festivity called the Hungry Ghost Festival when for an entire month spirits are believed to be released from the nether world and allowed to freely roam the world of the living. Another and a more shadowy practice includes marrying the dead in a so called ghost wedding so that they would not be alone in the afterlife or, among other reasons, for the purposes of including an extramarital child into the patrilineage. Just as the Inuit have about 50 different words for snow based on shape, density and many other factors, the Asians have numerous names for spirits based on their appearance, habitat and