The new wave of Korean cinema has presented a series of distinct genre productions, which are influenced by contemporary Japanese horror cinema and traditions of the Gothic. Ahn Byeong-ki is one of Korea‘s most notable horror film directors, having made four Gothic horrors between 2000 and 2006. These transnational horrors, tales of possession and avenging forces, have repeatedly been drawn to issues of modernity, loneliness, identity, gender, and suicide. Focusing on the figure of the ghostly woman, and the horrors of modern city life in Korea, this essay considers the style of filmmaking employed by Ahn Byeong-ki in depicting, in particular, the Gothic revelation.
The New Zealand television series Mataku as Indigenous gothic
This chapter explores the New Zealand television series Mataku, an example of Maori culture that adopts foreign approaches and acts as a transcultural form. The series reveals much about the global nature of the gothic, where contemporary culture and modern media practices present commercial arenas for Indigenous perspectives and superstitions to merge with more advanced horror traditions. American cinema has demonstrated the broadest and most explicit appropriations of Indigenous cultures for the creation of gothic screen fiction. The Strength of Water foregrounds Maoritanga, and it captures the wild landscape and crashing seascape of the Hokianga region in Northland, near the top of New Zealand, where many Maori reside. This is another isolated community within which some inhabitants feel trapped, and into which a young drifter, Tai (Isaac Barber), arrives and moves into an abandoned home, only to act as a catalyst for the tragedy.