Extreme cinema is an international trend which encompasses a wide range of cinematic genres: thrillers, dramatic narratives, so-called “art films,” and horror films. In the context of Asian extreme films, we find an especially highly-dynamic crisscrossing of influences. There is an assumption in the Western imagination that the Asian diaspora is unidirectional insofar as Asian populations gravitate toward the beacons of Western civilization. Trends in post-millennial extreme cinema however disrupt this particular diasporic narrative. This article argues that post-millennial extreme films are not simply a bidirectional flow, but rather a complex circulation of themes, aesthetic motifs, and filmmakers.
BernsFernandoPagnoniG. and DavisAmy M.. “
From Jigsaw to Phibes: God, Free Will and Foreknowledge in Conflict.” In To See the “Saw” Movies: Essays on Torture Porn and Post-9/11 Extreme Cinema edited by AstonJames and WallissJohn73–85. Jefferson, NC: McFarland2013.
Cutting into Concepts of ‘Reflectionist’ Cinema? The Saw Franchise and Puzzles of Post-9/11 Extreme Cinema.” In Horror After 9/11: World of Fear Cinema of Terror edited by BriefelAviva and MillerSam J.107–123. Austin: University of Texas Press2011.
Flesh and Blood: Sex and Violence in Recent French Cinema.” In New Extremism in Cinema: From France to Europe edited by HoreckTanya and KendallTina18–25. Edinburgh: Edinburgh University Press2011.
Paratext and the Commercial Promotion of Film Authorship: James Wan and Saw.” Senses of Cinema69 (December 2013): http://sensesofcinema.com/2013/contemporary-australian-filmmakers/paratexts-and-the-commercial-promotion-of-film-authorship-james-wan-and-saw/
Three… Extremes Chan Fruit Miike Takashi and Park Chan-wook 2004
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Wolf Creek Greg McLean 2005
James Quandt“Flesh and Blood: Sex and Violence in Recent French Cinema,” in New Extremism in Cinema: From France to Europeed. Tanya Horeck and Tina Kendall (Edinburgh: Edinburgh University Press2011) 18. Although this trend toward the extreme might seem new Andrea Butler reminds us (at least in the French context) that its roots go back to the Grand Guignol French theatre of terror. See Andrea Butler “Sacrificing the Real: Early 20th Century Theatrics and the New Extremism in Cinema” Cinephile 8 no. 2 (Fall 2012): 27.
David Edelstein“Now Playing at Your Local Multiplex: Torture Porn,”New York39 no. 4 (6 February 2006): 63–64. http://nymag.com/movies/features/15622/. For more on torture porn and its tropes see Steve Jones Torture Porn: Popular Horror after Saw (New York: Palgrave 2013) and Aaron Kerner Torture Porn In the Wake of 9/11: Horror Exploitation and the Cinema of Sensation (New Brunswick nj: Rutgers University Press 2015).