Abstract
In an attempt to de-Westernize film studies, this article first compares the different literary precursors, cultural references, and developments of horror as a film genre in Hong Kong and Hollywood to highlight their difference in cultural provenances. It then illustrates how the film evokes nostalgia for the “golden past” of Hong Kong horror through nostalgia casting and slipshod cinematography and extrapolates how the local spectators’ criticisms of Coffin Homes reflect a cinematic amnesia and detachment from Hong Kong horror as the result of the Westernization and modernization of movie theaters. By inventing a new subgenre called “slipshod horror,” I separate this de- Westernizing local subgenre from other horror-related subgenres, such as B films, exploitation films, and cult films. This distinction highlights its unique combination of cultness, low budget, cultural specificity, genre hybridity, and political awareness. Additionally, I explain how the film employs both cinematic and meta-cinematic techniques to practice a de-Westernizing approach that seeks to problematize, recalibrate, and reimagine the horror genre through a local, non-Westernized perspective.
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