Looking back at the unique Hong Kong flavor after 15 years of integration of Hong Kong horror films

<p style= "TEXT-ALIGN: left; TEXT-INDENT: 2em" is different from the mainland's unintentional neglect or deliberate suppression of thrillers for a long time. Hong Kong horror films have always been loved by the majority of fans for their unique appearance and excellence. The entertainment and popularity of Hong Kong horror films are in sharp contrast to the didactic meaning carried by mainland horror films. In Hong Kong, many well-known directors have made more than one horror thriller. The influential new wave of Hong Kong films starts with excellent horror, suspense and thrillers such as Xu Anhua's "Mad robbery" and Tsui Hark's "Butterfly change".

after decades of accumulation, Hong Kong horror films have presented many well-known masterpieces. Since 2000, while inheriting previous brilliant achievements, Hong Kong horror films have appeared frequently. The integration of many types and multi-cultures, the integration of traditional and modern, and the increase of transnational cooperation have made Hong Kong horror films reflect the human experience since the return of the SAR with a broader field of vision. and presents a unique Hong Kong flavor under the influence of traditional culture and film tradition.

the fusion of multiple cultures and types: "I see a ghost in my left eye", "hell"

<p style= "TEXT-ALIGN: left After TEXT-INDENT: 2em > 97, the psychological wandering and uneasiness brought about by politics have gradually become a thing of the past. Filmmakers pay more attention to the entertainment of films to meet the relaxing demands of the people in the tense modern life. Hong Kong films, which are "full of excesses and madness", show the characteristics of the integration of multiple cultures and types of films at this stage.

, released in 2002," I see a Ghost in my left Eye, "directed by Johnnie to and Wei Jiahui, tells the story of he Lizhu, played by Sammi Cheng, who goes on holiday in the Caribbean and meets a man with good conditions in all aspects. After the couple got married in lightning, the man was killed while diving. He Lizhu was so sad that she could not extricate herself from the pain. One day she accidentally found it. You can see ghosts in your left eye. "I see a Ghost in my left Eye" has gained a good reputation and box office results, earning more than 4 million at the box office in two days during the low tide of Hong Kong films. This film combines the types of romantic films, comedies and horror films, which is refreshing with the touching love story. It reflects the heroine's infatuation from the perspective of "ghost" and has been resonated and recognized by the audience.

<p style= "TEXT-ALIGN: left TEXT-INDENT: 2em > another film, "Damn the Ghost", released in the same year, was directed by Peng Shun and Peng Fa Brothers. In the same love film, the film is wrapped in a ghost film shell. In the same love film, Li Xinjie plays a blind girl who can see not only normal things but also ghosts that no one else can see. She traces the source of corneas donated to her at that time and discovers the story behind it.

<p style= "TEXT-ALIGN: left; TEXT-INDENT: 2em" directed by Peng Haoxiang, Victoria one combines action, crime and other types into the thriller, showing the life of citizens under the influence of soaring property prices; the first Commandment, starring Yu Wenle and Zheng Yijian, integrates action, crime, horror and horror. Generally speaking, Hong Kong horror films after 2000 have abandoned a single type, absorbed the advantages of Hong Kong films such as police, crime and feature films, and reflected the life of Hong Kong people with richer content and levels.

<p style= "TEXT-ALIGN: left; TEXT-INDENT: 2em" narrative urbanization tendency: the icy urban space of the "three shifts" movies

for a long time, Hong Kong, which is full of prosperity and flowing money day and night, still retains the traditional psychological state under the influence of farming culture, and is tainted with the unique cultural temperament of southern Guangdong. If you know anything about the Hong Kong horror films before 2000, thrillers based on ancient Chinese legends and novels account for a large part, and most of them are based on the villages and towns of the old era and the wilderness as the background to construct a vague dream of home and country.

after the new century, even though filmmakers often draw nourishment from ancient terrorist cultural classics such as" Strange Tales of Liaozhai ", the position of horror films has gradually shifted from villages and towns to prosperous metropolises, turning their attention to urban buildings closer to citizens' lives-elevators, offices, garages, etc., under their shaping, these spaces may have scary and" dirty "things. Movies such as "office has a Ghost" and "Damn it" extend the atmosphere of horror to every corner of modern life. Due to the acceleration of the pace of life, there is less communication between people, suspicion and mistrust pervade among people, modern society is gradually alienated into a desert of family and friendship, and the relationship between people is utilitarian, which makes the city the best place to show the world, which is shown in the "three shifts" series films admired by fans.

in" three shifts go Home ", Yu Hui, played by Li Ming, believes that taking a bath with traditional Chinese medicine can resurrect his wife who has been dead for three years, which leads to a tragedy. In the film, the Yu family is isolated from its neighbor, until one day the neighbor played by Zeng Zhiwei discovers his son is missing. The two families have to intersect here. The warm and harmonious neighbors are alienated into strangers who are suspicious of each other here, and the cold space of the city has become the content of modern fable horror films. In the dumplings of the third shift, Mrs. Li, played by Yang Qianwei, tries to change her appearance by buying human flesh dumplings from Aunt Mei to save her husband's heart in order to stay young forever. The tacit and apathy between husband and wife, cannibalism, incest and other phenomena are coldly reflected in the coldness between people, and even between loved ones.

the third film in the "third shift" series, "third shift Garage", which will be released to the audience in the near future, reduces the scary space to the ground. Lin Jiadong and Fang Lishen play the security guard of an underground garage of a building, responsible for night duty, and soon after his colleagues die after seeing ghosts one after another, people are in a state of panic. All signs point to the bizarre parking space in the middle of the garage. It is rumored that as long as someone parks here, there will be a murder. In the third shift Garage, the cold underground garage seems to be a microcosm of the alienation of modern society. Security guards, white-collar workers, wealthy businessmen and other social strata appear on the stage one after another, and the ghosts are waiting for the opportunity. Pure Hong Kong-style thriller to create three shifts series of blockbuster return, is considered to be the most anticipated Hong Kong horror film in the past decade.

the combination of tradition and modernity, the creation of a unique oriental terror atmosphere:

<p style= "TEXT-ALIGN: left" TEXT-INDENT: 2em "> Capital 81, which shines brilliantly on the mainland screen during the summer, has earned more than 400 million at the box office under the banner of oriental thriller elements. Compared with the shoddy production of mainland horror films before, the precise use of oriental elements such as" the first Seven return the Soul "and" the Round Room with corpses "is refreshing to the audience. In fact, for the excavation and application of Chinese traditional elements, Hong Kong horror films have done a very good job in this respect. Hong Kong horror films have always had the biggest nourishing matrix, that is, traditional Chinese classical novels and folk legends. In fact, in Hong Kong horror films, the use and creation of oriental thriller elements has become a prominent feature of Hong Kong-made horror films, and has shone brilliantly in thrillers after 2000. The integration of tradition and modernity has created a Hong Kong-style thriller with a unique style.

<p style= "TEXT-ALIGN: left; TEXT-INDENT: 2em" take "Yu Lan Shengong" directed and performed by Zhang Jiahui as an example. The film uses psychic stories as the theme, with the seventh month of the lunar calendar and the recent festival of Pyrenees as the background. Zhang Jiahui's hero fails in business in the mainland and returns to Hong Kong. His father is the head of a Shengong opera. At this time, members are organizing rehearsals to prepare for the annual show for ghosts and spirits. Unexpectedly, Xiao Tian suddenly fell ill before the play began, and Zong Hua, who had no experience, was appointed as the substitute class leader in the face of danger. In the film, the grand event of Pyrenees and the traditional gloomy atmosphere in the troupe contribute to the creation of the scary and scary atmosphere of the film.

multinational collaboration, the prosperity and glory of horror thrillers: "the early morning of that night",

2000, Hong Kong horror films have shown a more prosperous trend of development. Many young directors have made surprising and refreshing works for the first time, such as" Zombies ", directed by Mak Junlong, which was released in 2013. It is a tribute to traditional zombie films and has received a lot of praise. And more literary and commercial film directors have also joined in the creation of horror films, and transnational cooperation has made them show a more diverse situation, and horror film creators have also been able to learn from the advantages of other types of films and films of other countries. present richer works for the audience.

the literary film director Chen Guo, who is well known to the audience for" Last year's fireworks "and" Xiluxiang ", has created several horror thrillers with obvious style after the new century. Except for the" dumplings of three shifts "mentioned earlier," in the early hours of that night, I got on the red VAN from Mong Kok to Tai Po. "the story tells the story of the protagonist riding on the early morning red minibus back to Tai Po, when the minibus passes through the Lion Rock Tunnel. It was as if into another world, except for the seventeen people on the bus, the whole world seemed to disappear. The interpretation of some political background in the works has also attracted the attention of many fans.

and has always been a maverick director Xu Anhua, there are also good horror films in the new century. 20 years later, when she made ghost films, she played" Yin Yang Eye "and" Ghost body "in" Ghost World ". The comparison between traditional and modern is staggering, resulting in suspense thriller effect, and Xu Director Xu, who has always had a strong humanistic flavor. It is an ambitious work to interpret the multiple meanings of human relations and grudges through the scary plot in the film.

<p style= "TEXT-ALIGN: left; TEXT-INDENT: 2em" in recent years, Hong Kong horror films have increased international cooperation and carried out close exchanges and exchanges with Japan, South Korea, the United States and other countries. Let's take the "three shifts" series as an example. "three shifts" brings together teams from Hong Kong, South Korea and Thailand. The three-paragraph stories are directed by Peter Chan, Lance Nimeida, and Kim Zhiyun, respectively. "going Home", "reincarnation" and "amnesia" have their own advantages. "third shift 2" continues the tradition of transnational cooperation, and it is reported that the upcoming release of "three more Garage" also continues the three more series of international teams, coveted for a decade to try to recreate the bizarre night.