Graphic Violence in Cinema: Asian Extreme VS Western Horror Films

According to Stephen Prince, "graphic violence is an inescapable and ubiquitous characteristic on contemporary cinema" with numerous filmmakers becoming "proficient at staging sanguinary spectacles" (2000). With this in mind, the popularity of violence in cinema demonstrates a widespread embrace of graphic and brutal extremes by contemporary audiences and the film industry, despite ongoing social controversies about the unhealthy effects of viewing ultra-violence (Prince, 2000). Furthermore, this essay will distinguish the differences between graphic violence and moral extremities in Asian Extreme films and Western horror films. Moreover, there will also be an analysis of how the representations of violence and morality in Asian Extreme cinema appeal to audiences of Western horror films such as the Saw franchise (2004-2010).

Many film critics and scholars have deemed Asian Extreme as a film movement, rather than genre, due to the many diverse styles of filmmaking within the label. The term 'Asian Extreme' was created by London-based production company Tartan Films to specifically distribute East Asian (Japan, South Korea, Thailand) films to Western audiences. Originally, Tartan Asia Extreme started out as a cult phenomenon that mainly targeted the cult "fan-boys" audience, however after establishing itself as a recognizable brand the label began to target world cinema patrons (Shin, 2009). Additionally, the films' severe approaches to sex and violence would eventually influence the rise of "extreme horror films" in Western cinema (O'Connell, 2013). This film movement occurred in the late 1990's and throughout the 2000's decade which saw the release of numerous 'torture porn' films and remakes of horror classics. Despite this, violence, sex and gore wasn't a new inclusion in the horror genre, with the 'gore films' of the 1960's and the 'slasher films' of the 1980's and early 1990's (Weaver & Tamborini, 2009). According to Oliver Dew, both of these film movements "emphasized" the extreme nature of the film text "in order to authenticate them as 'outlaw' vis-à-vis mainstream taste, and literally dangerous in terms of their potential for inspiring copycat behaviour or inducing extreme physiological reactions such a vomiting or passing out" (2007).

However, the ultra-violence depicted in Asian Extreme cinema has been met with wider acceptance by critics when compared to Western extreme horror films. Park Chan-wook's "operatically" violent film, Oldboy (2003), was met with over-whelming critical acclaim and has been cited as one of "most respected [...] films of the 2000's" (O'Connell, 2013). In his review of the film, David Edelstein deemed Oldboy as "sublime" and "a great revenge flick" (2005). That same year, Edelstein was responsible for coining the phrase 'torture porn' during his review of Hostel (Eli Roth, 2005) where he expressed his revulsion for the influx of Western violent films that emphasize pain and suffering stating that he was "baffled by how far this new stuff goes - and why America seems so nuts these days about torture" (O'Connell, 2013). Additionally, Takashi Miike's film, Audition (1999), was met with positive reviews, despite numerous accounts of audience walk-outs, and has since been recognized as a "masterpiece", with its depictions of torture being labeled as "revolting in the best possible way" (Bloody-Disgusting.com, 2009). Yet, upon its release, Wolf Creek (Greg McLean, 2005) was criticized, most notably by Roger Ebert, for its "raw depiction of violence and torture" and saw a negative backlash for reports of audience walk-outs (2005).

On the surface, it appears film critics hold a double standard when reviewing extreme violence in cinema, as they offer praise to Asian Extreme films that depict graphic violence but deem the same excessiveness in Western horror films as "dangerous" and "off-putting" (Prince, 2000). However, Robert Hyland argues that Asian Extreme cinema "use an extreme aesthetic as a political reaction to the closed, vertically integrated studio systems of [East Asia]", further adding the extreme nature of these films engage in "a political discourse that subverts the conventions and expectations of a cinema audience inured to conservative studio fare," (2009). With this in mind, the extreme and graphic violence exemplified in Oldboy paints a vast picture of what Park's stance is on "the massive corporatization and consumption-based ideologies of contemporary Korean society". On the other hand, Audition has been argued as a feminist allegory due to the female lead's response to patriarchy and her complex characterization, however that argument ignores the vilification of the female for her violent actions (Hyland, 2009). With this in mind, the different responses to excessive violence in Asian Extreme cinema and Western horror films replies on the intent and purpose behind film.

Many critics have dismissed extreme Western horror films as a reflection of iconic images, anxieties, and sadistic fantasies that have emerged from the War of Terror (Kerner, 2015). Critics have also expressed that the majority of extreme Western horror films use graphic depictions of sex, violence and gore for "shock value" and to "push boundaries" within the film industry, rather than offer social commentary or attempt to serve as a public good. Knowing this, there is merit to pushing boundaries with critic Jason Zinoman begging horror filmmakers to "stop being so damn respectful" (2012). Zinoman further asserts that horror is the most "viscerally exciting genre in all of the cinema", but filmmakers need to push boundaries in order to be as effective as previous classics like The Exorcist (William Friedkin, 1973), The Texas Chainsaw Massacre (Tobe Hooper, 1974) and Halloween (John Carpenter, 1978) (2011). Furthermore, O'Connell points out that critics are "short on hindsight", noting that several now-revered horror films were previously poorly received for their excessive violence. During a screening of George A. Romero's Dawn Of The Dead (1978), Janet Maslin from The New York Times "famously walked out", whilst Roger Ebert and Gene Siskel originally berated Friday The 13th (Sean S. Cunningham, 1980) calling it "one of the most despicable creatures ever to infest the movie business" (O'Connell, 2013).

The reaction to the depiction of violence in Asian Extreme cinema differentiates from Western horror films because of the idea that 'torture porn' films lack the style, artistic expression and reasoning of Asian Extreme cinema. Considering the critical success of Oldboy and Audition for its use of violence, there was a positive response to the notion that there's a method behind the madness or a residing message to be obtained regarding filmmakers and their decision to incorporate such graphic content. Knowing this, Western horror films, with some exceptions, mostly use graphic content to push boundaries within the film industry in hopes of eliciting controversy or notoriety, to utilize innovative technology and techniques, and to influence future films. Despite critical failure for the majority of the 'torture porn' sub-genre, audiences flock to cinemas to watch these kinds of films, with the Saw franchise becoming the highest grossing horror series of all time (Jones, 2013). It is this appeal and attraction to violence in film that has made Tartan Asia Extreme so popular amongst Western audiences.

With this in mind, over the years the Western market has had an increased interest in the products of Asian cinema. The availability of Asian Extreme films continue to rise as distributers market their wares via the internet to countless amounts of fans. Although these films cannot compete with the "large US horror productions, their increasing prominence and commercial viability in American theatres are signs that there is an audience that responds favorably to niche marketing" (Hantke, 2005). Furthermore, in an article on horror films, Steve Rose believes that "US horror has had no new ideas since the slasher movies of the 1980's" and further adds that "formulas and franchises have been squeezed dry" (2002). However, Hollywood's purchase of the rights to several Asian Extreme films and their subsequent remakes has served as the remedy for this creative attrition. This saw recent high profile Hollywood remakes of successful East Asian films such as The Ring (Gore Verbinski, 2002), and its sequel The Ring Two (Hideo Nakata, 2005), The Grudge (Takashi Shimizu, 2004), Dark Water (Walter Salles, 2005), and The Departed (Martin Scorsese, 2006). Not only did this "dose of healthy [Asian extreme cinema] cross-fertilized with an exotic cinematic tradition" (Hantke, 2005) appeal to Western audiences, but also continued the success and widened the profile of Asian Extreme films around the world (Shin, 2009).

Furthermore, the appeal of violence is particularly evident with the marketing tactics that Tartan Asia Extreme use when advertising East Asian films to Western audiences. The typically Western marketing tactic of "daring" audiences to watch a film has been adopted for numerous advertising campaigns for Asian Extreme films in the United Kingdom and the United States of America. This was most prevalent when Tartan released the promotional poster for Ringu (Nakata Hideo, 2001) that featured a quote inviting audiences to 'see if you dare'. Additionally, the Japanese video cover for Audition focused on the face of the film's male lead, whereas the British cover depicted the female lead "as a castrating dominatrix poised to torture the audience [whilst] in body armour and wielding a hypodermic needle" (Dew, 2007). This imagery is also followed with the strap-line 'she always gets a part'. This tactic appeals to Western male audiences or 'fan boys' who exist "within a competitive, homosocial, hierarchical 'fratriarchy', a structure that reveals the gaps between the public face of male power and individual male anxieties" (Austin, 2001).

Furthermore, Jessica Hughes notes that many Asian Extreme filmmakers actively incorporate particular features in their films "to signal an awareness of international audiences". Most notably is the inclusion of Western perceptions of "Asian-ness" by "deliberately exploiting conventions of female representation" through fetishisation as well as the inclusion of graphic violence (2014). Moreover, these features serve major contributions to the "dominant ideologies" of Asian Extreme cinema as they "assert exotic otherness and extreme violence". However, Tartan Asia Extreme is also responsible for this problematic labeling that fails to recognize individual countries and cultures (Chung, 2012). Despite its success at creating a viable niche market, Chi-Yun Shin questions the production company's reductive marketing tactics that portray films "as exotic and dangerous cinematic thrills" (2009). Additionally, many have noted that Tartan, and the 'Asian Extreme' label itself, invokes and in part relies of the Western audience's perception of the East as "weird and wonderful, sublime and grotesque" (Shin, 2009). On the other hand, according to Mathijs and Sexton's 'Cult Cosmopolitan' approach, the Western attraction to Asian Extreme cinema is considered a form of genuine cultural engagement rather than a marginalization of the diverse Asian cultures (2011). Based on the popularity of 'torture porn' films in Western culture, there is a proven fascination with cinematic violence and outlandish storytelling within Western society. For these reasons, many Asian Extreme filmmakers and Tartan Asia Extreme include content and marketing tactics that will aid in the distributions of these films.

Whilst critiquing Oldboy, Tony Rayns commented on Parks' numerous efforts to position his film as appealing to Western audiences, most notably 'fan boys', asserting that "Parks has clearly figured out that archetypes play better in foreign markets than cultural specifics". Rayns further adds that the film's "overgrow 'lad' audience" would "get off" on the depiction of hyperbolic violence, specifically, the numerous brutal fight sequences and the scene which depicts the protagonist's attempt to eat a live octopus (2005). Additionally, Dew also suggested that 'fan boys' get "excited or aroused by watching scenes of excessive violence" as well as reiterating Rayns by stating that they'll "take anything as long as it delivers enough thrills or gore or whatever it's supposed to have to keep them satisfied" (Dew, 2007). Knowing that 'fan boys' are major demographic, Tartan employed a marketing tactic that would appeal to the "18 to 40-year-old male consumers" for the release of Oldboy. The company issued a press release that urged audiences to "be a part of Kool Korean cinema before Hollywood disembowels it", thereby encouraging the male fanbase to invest in the film before the "imagined" mainstream banalizes it (Dew, 2007). Regarding Audition, Carol Clover noted that Miike characterized the female lead as an avenger - a rather clichéd Western motif of the horror genre. She goes on to say this is "an immediately recognizable trope for audiences raised on film traditions" thereby increasing the appeal for Western audiences (Hantke 2005).

In conclusion, this essay has distinguished that the difference between graphic violence and moral extremities in Asian Extreme cinema and Western horror films lies within the intent behind the 'madness'. With the films Oldboy and Audition in mind, there was a clear underlying message that provided legitimate reasoning for the overt-the-top violence. Conversely, the majority of Western horror films incorporate extreme violence into their film to cause controversy and gain notoriety, to explore new technologies that will make the carnage more life-like, or to push the boundaries of the genre. As previously pointed out, several films that are now considered iconic were once deemed too violent and graphic by critics. This indicates that films from the 'torture porn' sub-genre that have been critical failures, but commercial successes, will eventually be considered cinematic classics within the horror genre and receive the same appreciation that many Asian extreme films do now-a-days. Furthermore, this essay also explored Western audiences' appeal towards Asian Extreme cinema. Modern Western audiences have a fascination with violence in cinema which is evident through cinematic history as well as the recent commercial successes of numerous 'torture porn' films. There is also an attraction to the "weird and wonderful, sublime and grotesque" (Shin, 2009), which is why Tartan Asia Extreme exists and also explains the "reductive" marketing tactics they've employed to sell and distribute these films. Additionally, Asian Extreme filmmakers have also embraced this fascination, with the inclusion of features that "signal an awareness of international audiences" ranging from the fetishisation of female characters to the graphic depictions of sex, violence and morality (Hughes, 2014).

Reference List

• Austin, T. Hollywood, Hype And Audience: Selling And Watching Popular Film In The 1990's. Manchester: Manchester University Press, 2001. Print.

• Bloody-disgusting.com,. '00'S Retrospect: Bloody Disgusting's Top 20 Films Of The Decade...Part 2 -'. N.p., 2009. Web. 4 June 2015.

• Chung, Hye Seung. Kim Ki-Duk. Urbana, Chicago, Springfield: U of Illinois P, 2012.

• Dew, Oliver. 'Asian Extreme: Japanese Cinema And British Hype'. New Cinemas: Journal of Contemporary Film 5.1 (2007): 53-73. Print.

• Ebert, Roger. 'Wolf Creek Movie Review & Film Summary (2005) | Roger Ebert'.Rogerebert.com. N.p., 2005. Web. 4 June 2015.

• Edelstein, David. 'Sublime Revenge In Oldboy.'. Slate Magazine. N.p., 2005. Web. 4 June 2015.

• Hantke, Steffen. 'Chapter 4: Japanse Horror Under Western Eyes: Social Class And Global Culture In Miike Takashi's Audition'. Japanese Horror Cinema (2005): 54-65. Print.

• Hughes, Jessica. 'Asian Extreme, Tokyo Gore, And Sushi Typhoon: Selling Eastern Violence To Western Audiences'. Refractory. N.p., 2014. Web. 4 June 2015.

• Hyland, Robert. 'A Politics Of Excess: Violence And Violation In Miike Takashi’S'. Horror To The Extreme: Changing Boundaries in Asian Cinema (2009): 199-218. Print.

• Jones, Steve. Torture Porn: Popular Horror After Saw. Palgrave Macmillan, 2013. Print.

• Kerner, Aaron. Torture Porn In The Wake Of 9/11: Horror, Exploitation, And The Cinema Of Sensation. New Jersey: Rutgers University Press, 2015. Print.

• Mathijs, Ernest and Jamie Sexton. Cult Cinema: An Introduction. Chichester: Wiley-Blackwell, 2011.

• O'Connell, Max. 'Violent With Purpose: The Case For Extreme Horror - The Airspace'. The Airspace. N.p., 2013. Web. 4 June 2015.

• Prince, Stephen. Screening Violence. New Brunswick, N.J.: Rutgers University Press, 2000. Print.

• Rose, Steve. 'Steve Rose On The Rise Of Asian Horror'. the Guardian. N.p., 2002. Web. 4 June 2015.

• Rayns, T. 'Shock Tactics'. Sight and Sound 15.5 (2005): 84. Print.

• Shin, Chi-Yun. “The Art of Branding.” Horror to the Extreme: Changing Boundaries in Asian Cinema. Ed. Jinhee Choi and Mitsuyo Wada-Marciano. Hong Kong: Hong Kong University Press, 2009.

• Weaver, James B., and Ron Tamborini. 'Content Trends In Contemporary Horror Films'. Horror Films: Current Research on Audience Preferences and Reactions (2009): 35-45. Print.

• Zinoman, Jason. 'Part I: Stop Trying To Be So Respectable'. Slate Magazine. N.p., 2011. Web. 4 June 2015.

• Zinoman, Jason. Shock Value: How A Few Eccentric Outsiders Gave Us Nightmares, Conquered Hollywood, And Inven Ted Modern Horror. Penguin Books, 2012. Print.