The late twentieth century saw growing number of articles and books appearing on new national gothic; however, the wider context for this had not really been addressed. This collection of essays explores an emerging globalgothic useful for all students and academics interested in the gothic, in international literature, cinema, and cyberspace, presenting examples of globalgothic in the 21st-century forms. It analyses a global dance practice first performed in Japan, Ankoku butoh, and surveys the ways in which Indigenous cultures have been appropriated for gothic screen fictions. To do this, it looks at the New Zealand television series on Maori mythologies, Mataku. The unlocated 'vagabonds' of Michel Faber's "The Fahrenheit Twins" are doubles (twins) of a gothic trajectory as well as globalgothic figures of environmental change. The book considers the degree to which the online vampire communities reveal cultural homogenisation and the imposition of Western forms. Global culture has created a signature phantasmagoric spatial experience which is uncanny. Funny Games U.S. (2008) reproduces this process on the material level of production, distribution and reception. The difference between the supposedly 'primitive' local associated with China and a progressive global city associated with Hong Kong is brought out through an analysis of cannibal culture. In contemporary Thai horror films, the figure of horror produced is neither local nor global but simultaneously both. The book also traces the development, rise and decline of American gothic, and looks at one of the central gothic figures of the twenty-first century: the zombie.
This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book shows that gothic has energetically participated in the cultural flows and deterritorialisations that characterise globalisation. It reviews the question of cultural exchanges with specific reference to virtual networks and online vampire communities. The book offers one of the earliest examples of globalgothic with an analysis of a global dance practice, 'Ankoku butoh'. This was first performed in Japan by Tatsumi Hijikata in 1959, on the eve of Japan's signing of the US-Japan Mutual Defense Treaty. It reflects upon Mataku as an active engagement between non-Western and Western cultural practices. The book considers the degree to which the vampire communities reveal cultural homogenisation and the imposition of Western forms and the degree to which there is hybridisation and a productive melange of cultures.
Many Hong Kong horror films focused on the reworking of traditional Chinese stories and beliefs in order to revisit identity politics in the context of a post-Handover Hong Kong. Fruit Chan's Dumplings has been one of the most commercially successful of these films. By the time it was produced in 2004, the situation Ackbar Abbas described was no longer quite so clear. Administrative borders, as the opening scene of Dumplings makes clear with Mei moving her raw materials from Shenzhen to Hong Kong with such ease, were no longer a sign of division. This film challenges the familiar categories of East and West, tradition and modernity, around which Hong Kong identity politics centred, terms which the conditions of globalisation render meaningless. Simultaneously, through the trope of cannibalism, Dumplings critiques globalisation, showing Hong Kong and China merging together, equally driven by the prevailing imperative of the global economy: consumption.