In Asian cultures, there are parts of the faith and official religions that believe that ghosts and humans have always been part of the same universe. Asian cities have ghosts co-existing with the living
Most Chinese ghost films are produced in Hong Kong, Singapore and Taiwan because these areas, which are culturally Chinese collaterals, escaped the Chinese Communist Party’s suppression of supernaturalism. The Chinese government also believes that these projects have a negative impact on society and in order to protect the mental health of young people they have been working to remove them
Most Asian ghost stories depict the complex relationship between the living and the dead. Common plots involve ghosts falling in love with humans, entering into sexual relationships, having children, caring for their loved ones, avenging their misfortunes, revealing secrets, punishing those who have done bad things, attempting to reincarnate or resurrect themselves, or, occasionally, trying to destroy all humans. For these plots to be successful, humans need to remain largely unaware that they are interacting with ghosts. Hong Kong’s cinematic representations of such ghosts are the most intriguing.
Chong Hoi Ching
UID: 3036106575
You have shown some understanding of the context of ghost films in Asia. The focal point of Ancuta’s essay is to bring forth how Asian ghost films reflect issues of the Asian urban landscape more so than the spiritual dimension of such exploration. Your response will be more insightful if you shifted your focus to the urban context rather than just looking at the narrative and characterization of ghosts.