In this chapter, Katrzyna Ancuta shares animistic beliefs still exist in today’s Asian culture, and analyzes the ghosts living in Asian City. With the development of globalization and global economy, urbanization in Asian sped up and metropolitan became more. But there is always a process of developing–in cities most people live in multi-apartment building designed to house as many tenants as it can. They might live in “coffin house” which was a very small unit, reflecting the isolation in cities, poverty and unachieved dreams.
Among these ghost movies, loneliness became a significant theme. Ghosts are lonely, because they had been so lonely, lacking sense of belonging before death. What those movies intended to convey were actually dilemma and tragedy of “living ghosts”. Living in a dark and tiny room which they might stay for a very short time, isolated from others physically and mentally, tenants in multi-apartment buildings are like “living ghost”. City and spaces are shaped and designed by people but in turn affect and reflect people’s lifestyle, shaping or enhancing the “living ghost” life.
I appreciate your detailed analysis of how loneliness cultivates the “living ghosts” hanging around the city. I would suggest unfolding a larger picture through specific film cases. Please further consider how the figures of those “living ghosts” are reinforced through space/architecture. Besides, Abbas’ essay might shed a light on your analysis in terms of contextuality. More importantly, the bloom of Hong Kong’s ghost-themed films in the 20th century has something to do with its social background. This can navigate your further analysis of the specific circumstance in Hong Kong. Similarly, the 1950s-1990s is the “golden age” of monster-genre film in Japan, which is a medium to emphasize the destruction and reconstruction of the city. It might be insightful to discuss by comparing these two film genres.