13. Oldboy goes to Bollywood: Zinda and the Transnational Appropriation of South Korean ‘Extreme’ Cinema

Chapters in this book

1. Frontmatter i
2. Contents v
3. Acknowledgements vii
4. Foreword viii
5. Contributors xi
6. Introduction 1
7. Part I: Classic Korean Horror
8. 1. Family, Death and the wonhon in Four Films of the 1960s 23
9. 2. Creepy Liver-Eating Fox Ladies: The Thousand Year Old Fox and Korea’s Gumiho 35
10. 3. War Horror and Anti-Communism: From Piagol to Rainy Days 48
11. 4. Mother’s Grudge and Woman’s Wail: The Monster-Mother and Korean Horror Film 60
12. Part II: Contemporary ‘Domestic’ Horror
13. 5. Heritage of Horrors: Reclaiming the Female Ghost in Shadows in the Palace 73
14. 6. Acacia and Adoption Anxiety in Korean Horror Cinema 87
15. 7. Apartment Horror: Sorum and Possessed 101
16. 8. The Face(s) of Korean Horror Film: Toward a Cinematic Physiognomy of Affective Extremes 114
17. 9. Death Bell and High-School Horror 131
18. Part III: Contemporary ‘International’ Horror
19. 10. Between the Local and the Global: ‘Asian Horror’ in Ahn Byung-ki’s Phone and Bunshinsaba 145
20. 11. Diary of a Lost Girl: Victoriana, Intertextuality and A Tale of Two 158
21. 12. From A Tale of Two Sisters to The Uninvited: A Tale of Two Texts 173
22. 13. Oldboy goes to Bollywood: Zinda and the Transnational Appropriation of South Korean ‘Extreme’ Cinema 187
23. 14. Park Chan-wook’s Thirst: Body, Guilt and Exsanguination 199
24. Glossary 217
25. Bibliography 219
26. Index 236