The etymological origin of globalization lies in the advent of growth within the civilizations. The major drive behind this is the variations in the needs, demands and requirements of the public domain. These variations compelled the personnel of companies and organizations to put on their thinking caps in terms of upgrading the standards and quality of the products and services (Goff, Wilson & Zimmer, 2017). For this, the newly launched products were exported to the neighbouring countries. However, the tax impositions acted as an obstacle in the imports and export activities. This obstacle adversely affected the behaviour and power of the customers for making purchases. Consistency in this situation deprived the customers from the passion of possessing quality and branded products. As per the modern situation, globalization has made its entry into every field including Digital Film and Media (Rhee, 2014). Speculation on this parameter is the focus of the essay.
Globalization is composed of two parts, “global” and “zation”. Countering this, main essence of globalization lies in the word “global”, which indicates its widespread impact on the whole world. The major drive behind this is social network, which connects people of one country to another. The social networking sites have exposed the people to the world of fantasy, which satisfies their entertainment needs (Goff, Wilson & Zimmer, 2017).
Going into flashback, there were only black and white pictures, which added to the drab monotony of the people. Countering this, films such as, Casablanca, Psycho, It Happened One Night among others, entertained the people of the nineties. However, referring to the diversified movies would deviate the essay from its topic. Counter arguing this, concentrating on the horror movies, would align with the requirements of the essay. Viewing it from other perspective, globalization of horror adds weakness to the psyche of the individuals (Tudor, 2014). This affectation influences the present life, compelling the individuals to lose the stability.
From the earlier times, horror films have undergone many transformations. In case of Psycho, the audience did not get a “spine chilling effect” as the climax only reveals a skeleton. Moreover, the lack of technology failed to provide the feeling of horror to the spectators. On the contrary, films like A Tale of Two Sisters achieved praises from the people due to the application of special effects for creating imaginary ghosts (Grant, 2015). Typical example of this fact is the personification of the ghosts in terms of their manly actions. The “disfigured hand” is another of the examples, which indicates the usage of special effects. These effects are so real that the people with weaker hearts fail to bear with these horrifying contents and come to terms with their tragic fate, that is, death. The root cause of this is the absence of warnings prior to the airing of the movie in theatres, TV, radio and social networking sites (Goff, Wilson & Zimmer, 2017). The outcomes of the horror movies had strange impacts on the people, which sometimes were beyond cure and treatment.
Filming fairytale can be considered as an attempt to expose the children to the unknown realms of technology. However, the presence of ghosts scares them instead of making them wonder at the widespread usage of technology in a diversified manner. Therefore, producing films that depict fairytales should not involve ghosts as it is exclusively for the children. Another issue within this is the presence of parents. Viewing these horror films without the permission and presence of the parents proves fatal for the psychological development of the children (Antunes, 2017). Choosing two sisters for the portraying the influence of ghost is a distortion of the warmth and love, which are considered to be the essential elements of the sisterly love. The age of the sisters projected in the film are big, however, visualizing the movie from the perspective of sisters belonging to tender age, indicates a disturbed psyche in their maturation years. The tragic fate, which entraps the sisters within the supernatural blows correlate with the word “tale” in the name of the movie (Tompkins, 2014).
The above issues represent the internal aspects of the film, which leads to the outer environment. Screening the movie in the native theatres projects the internal environment. Large scale response from the foreigners acts as a platform for the directors, producers, and advertising agencies to penetrate into the foreign markets. Herein lays the true essence of the term “globalization, which expands the scope and arena of the business of digital media, film industry and media (Heffernan, 2017). Screening of the South Korean movie in American theatres is an exemplar of “transnational filmmaking”. The decision of remaking the film by American directors is an attempt to give a “blood curdling”, thrilling and adventurous feeling to the spectators. Inviting the South Korean producers in the screenings would be an intersection of Korean and American cultures. Herein lays the appropriateness of the word “exchange” in the article entitled, “Wigs and rings: cross-cultural exchange in the South Korean and Japanese horror film”. Herein comparison can be developed between the Japanese movie, Ring and South Korean movie, Wig (Byrne, 2014). The mention of the Asian threshold in the article broadens the scope and arena of the horror movies of the era of 2000. Exchange of horror films deprives the children of foreign countries from viewing quality contents for their development. The developmental aspect nullifies the fact that horror films provide adventurous experiences and feelings to the children, enhancing their imagination.
Portrayal of women becomes one of the subplots of the essay. Depicting empowerment of women in movies has brought remarkable transformations in their predicament (Kaplan, 2013). Excelling in the diverse fields is the typical evidence of this fact. The cover picture of the book portrays two women, one smoking and the other supporting her in their thoughts of upliftment through breaking the shackles of patriarchy. The expressions of the women reveal the devilish side, which the camera captures. This trait of the character resembles with the character of the ghost in A Tale of Two Sisters. The motive behind this devilish conduct is to take revenge, which in case of the movie is a past incident. Breaking the shackles of patriarchy attains generalization for the portrayal of women as ghosts (Olney, 2014). Herein, the limitations of South Korea, Japan or Asia are nullified.
The article entitled, Korean Horror Cinema, provides an insight to the readers about the aspect of horror in the “classical” age. Here, family death due to paranormal activities attains a commonality. The chapter on “war horror” reflects a different kind of fear, which contradicts the requirements of the essay. The tag of “creepy liver eating fox ladies is one of the specialities of this article (Peirse, 2013). Portrayal of women in this form relates to the propositions of the article, Women and Film. Horrific presentation of women contradicts the aspect of their empowerment and adds to the patriarchal dominance. Countering this, portrayal of women’s tragic plight in the cinematic versions might be a plea to patriarchy in terms of rectifying their treatment towards women. Counter arguing this, this plea would not be fruitful, owing to the strong influence of male ego. The government have played a major role in mitigating the injustice done towards women by introducing strict laws against the culprits (Benson, 2016). Portrayal of these steps in the films can be considered as the support, which the government officials need to bestow a secured lifestyle to the people, especially the women.
The article, Korean Horror Cinema, projects radical transformation in the concept of women as a ghost. Pondering upon women, portrayed as ghosts wandering like shadows in the palaces adds obscurity in their existence. This lack of fullness can be correlated with the lack of freedom, which the women bore in the earlier ages. However, the uncanny settings, within which the ghost of the stepmother is portrayed, has attracted audience from all over the world, enabling the personnel of South Korea to attain a competitive advantage over the contemporary brands (Peirse, 2013).
The final section of the essay looks into the marketing of the horror movies, where target segmentation is a crucial element. Targeting audience, who are physically, mentally and emotionally strong is a wise step of the digital media personnel regarding the production of quality horror movies. Portrayal of women in dishevelled conditions adds a negative tone in their individuality, degrading their social position (Kaplan, 2013). The film, A Tale of Two Sisters falls within this category, as the ghost of stepmother is portrayed as a ghost, filled with blood. Globalization of this “horrific women” generates misconception regarding the relation between mother-child, mother-daughter and stepmother-children. Delving deep into the issue, the concept of “stepmother” projects a different kind of upbringing. Countering this, the presence of “mother” in the word “stepmother” itself projects a sense of nurturing. In view of the previous sentence, stepmother can be considered as a substitute for mother, who provides care, affection, and love to the children (Olney, 2014). However, the actions of the stepmother in the movie contradict these nourishing aspects. These actions are a distortion to the integrated and closely-knit bondage, which is expected to persist within the families.
Marketing such scenes, on one hand, attracts large number of audience. On the other hand, it adds an interrogative parameter to the aspect of familial relationships. The spice and entertainment in these movies possess flexibility to lure the spectators all over the world. This large scale response by the audience projects the globalization of films. The generalization of the previous sentence contradicts the limitations of the genre of “horror” movies (Grant, 2015).
References
Antunes, F. (2017). Rethinking PG-13: Ratings and the boundaries of childhood and horror. Journal of Film and Video, 69(1), 27-43.
Benson-Allott, C. (2016). Learning from Horror. Film Quart, 70(2), 58-62.
Byrne, J. (2014). Wigs and rings: cross-cultural exchange in the South Korean and Japanese horror film. Journal of Japanese and Korean Cinema, 6(2), 184-201.
Cha, J. (2016). Product placement in movies: perspectives from motion picture firms. Journal of Media Business Studies, 13(2), 95-116.
Goff, B., Wilson, D., & Zimmer, D. (2017). Movies, Mass Consumers, and Critics: Economics and Politics of aTwo-Side Market. Contemporary Economic Policy, 35(2), 269-277.
Grant, B. K. (Ed.). (2015). The dread of difference: Gender and the horror film. University of Texas Press.
Heffernan, K. (2017). Horror Films in the Context of Distribution and Exhibition. A Companion to the Horror Film, 109.
Kaplan, E. A. (2013). Women & Film. Routledge.
Olney, I. (2014). Unmanning The Exorcist: Sex, gender and excess in the 1970s Euro-horror possession film. Quarterly Review of Film and Video, 31(6), 561-571.
Peirse, A. (2013). Korean Horror Cinema. Edinburgh University Press.
Rhee, E. (2014). The Dynamics of Movie Purchase and Rental Decisions: Customer Relationship Implications to Movie Studios. International Journal of Business and Social Science, 5(1).
Tompkins, J. (2014). Horror 2.0 (On Demand) The Digital Convergence of Horror Film Culture. Television & New Media, 15(5), 413-432.
Tudor, L. A. (2014). Horror, horror, everywhere… Romanian Journal of Artistic Creativity, 2(4).
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