This article introduces three themes of Asian“apartment horror” films. The concept of “living ghost” constantly appears in the second theme. It mirrors the loneliness of both living beings and ghosts, which satirizes the gradual separation of social relations as well as the housing problems (the coffin homes) caused by capitalism. I feel that we are gradually moving toward the lifestyle of a “living ghost” as we grow up. We were vibrant and enjoyed close friendships during school time, but such feelings and relationships faded when growing up and becoming exposed to cutthroat capitalism. It’s also ironic how the indifferent society and stress make living beings dimmer, but the ghost with grudge becomes more visible.
This article also brings me to the relationship between architecture and ghosts. As mentioned in the article, most Asian ghost movies take place in low and middle-income dilapidated apartment buildings, but the feeling perceived from buildings is changing constantly, just like what is mentioned at the end of the lecture: “Sometimes, the architecture is the imagination itself.” For example, I visited the Man Was building a few times for the field trip, in which I perceived different feelings from the building, sometimes gloomy and horror, sometimes livable and cozy. The relationship between architecture and ghosts is kind of floating, depending on the way films depict the building and the audiences’ imagination. Besides, the existence and meaning of ghosts also differ between cultures. Ghosts in Asian culture generally exist for regret and resentment, but the Day of the Dead, as depicted in Disney’s Finding Neverland, is colorful and heartwarming, and ghosts exist because they are remembered (contrary to what was mentioned in the article).
Shen Leyan