TheComparisonoftheCulturalDifferencesinHorrorFilmsBetweenChinaandAmerica論中美恐怖電影中的文化差異TheComparisonoftheCulturalDifferencesinHorrorFilmsBetweenChinaandAmericaGuoZhonghuaXinkeCollegeofHenanInstituteofScienceandTechnologyMay,2010ContentsTOC\o"1-5"\h\zAcknowledgements iAbstractinEnglish iiAbstractinChinese \o"CurrentDocument"Introduction 1\o"CurrentDocument"ABriefAccountofChineseandAmericanHorrorEilms 2TheDevelopmentCourseofAmericanandChineseHorrorFilms..2\o"CurrentDocument"TheDifferencesinChineseandAmericanHorr.or.Films 3.DifferentOriginsofHorror..CuLture 3.DifferentStylesofHorrorFilm 4DifferentHorrorEffects 5.皿DifferentCulturesReflectedinChineseandAmericanHorror.Film6 CulturesReflectedintheSubjects CulturesReflectedintheHumanNature.CulturesReflectedintheHorror.Ef.f.e.c.ts1011IV.Conclusion1011BibliographyAcknowledgementsTheauthorthanksallthosewhohavehelpedtomakettprsespEapeable.IamespeciallygratetfulydeepestgratitudgoesfirsandforemosttoProfessorMrs.Guo,mysupervisor,whotookpainstoreadandrereadthewholepaperandgavedetailedsuggestionsforimprovingit.Shehaswalkedmethroughallthestagesoftlwritingofthisthesis.Withoutherconsistentandilluminatinginstruction,thisthcouldnothavereacheditspresentform.Second,Iamgreatlyindebtedtothefollowingpersons:Mr.HuangandMr.Xue,wholedmeintotheworldoftranslation,andforgivingmevaluablehelpsormateriaonthethesisvritingWithouttheiigeneroushelpIcouldnothavecompletedthethesis.IamalsogreatlyindebtedtotheprofessorsandteachersattheDepartmento:English,whohaveinstructedandhelpedmealotinthepastthreeyears.Lastmythankswouldgotomybelovedfamilyfortheirlovingconsiderationsandgreatconfidenceinmeallthroughtheseyears.Ialsoowemysinceregratitudemyfriendsandmyfellowclassmateswhogavemetheirhelpandtimeinlisteningtomeandhelpingmeworkoutmyproblemsduringthedifficultcourseofthethesis.AbstractHorrorfilm,ghastlyandbloodcurdling,usuallycontainssomeviolenceandwillingtomaketheaudiencecreepy.Terrorisakindofhuman,sinherentpsychologicaresponse.Andtheterroicultureisalsoaverypeculiaiculturalphenomenonsinceancienttimes.Eveninmodernsociety,peoplestillworshipattheghosts,godsandsupernaturalbeing.Whattheterrorfilmreflectsisiusttheconti]andpresentatiomcontemporarysocietyofhuman,sancientcultureinshort,thehorrorfilmsfromdifferentnglereflectsifferentmages,suchasdifferenftorms,differentonsequences,differenattitudeanddifferenperspectivesreflectsheculturaldifferencesbetweenChinaandAmerica.Therefore,thestudyoftheculturaldifferencesbetweenChinaandAmericainhorrorfilmsisaverysignificanttopics.ThedifferencesbetweenChinaandforeigncountriescansimplybeconcludedasthedifferencesingeographicalcultureandideology.ThroughtheanalysisofmateriatheauthorsummarizessomeproblemsinAmericanhorrorfilms,studysthedifferencefromtheangleofculturesandthequantity,culturesandthesubjects,culturesandhorroreffects,andprovidessomemethodsandadvicestosolvethoseproblems.Keywords:horrorfi；mcomparativeculturalhorroreffects恐怖片是一種氣氛陰森、題材可怖、通常包含一些暴力事件并立意使觀眾毛骨悚然的影片。〃恐怖受人類固有的一種心理反應，恐怖文化也是人類社會自古以來就存在的一種甚為奇特的文化現象，即使在科學昌明的當代社會，鬼神與靈異崇拜的心跡也依然隨處可見。恐怖電影所體現的正是人類古老文化在當代社會的延續與呈現。總之，中美恐怖影片從不同的視角反映出諸多不同的影像，如不同的表現形式，不同的結局，不同的態度等不同視角，折射出兩國不同的文化差異。因此，研究中美恐怖電影中的文化差異是一個非常有意義的課題。.中美恐怖電影的不同，可以簡單的歸結為:中美地域文化的差異，意識形態的不同。通過對材料的分析，作者從文化與恐怖電影的質量，文化與恐怖電影的主題，及文化與恐怖電影的恐怖效果等幾個方面加以研究，并提出一些解決這些問題的方法。關鍵詞：恐怖電影；對比；文化；恐怖效果iiiIntroductionRecentlywiththegrowthofpressureinlife,peopleneedusefulwaystorelax.Mostofthemliketoseehorrorfilmsatnight,scaredtodeathbutfellingxcited.Horrormoviesaregoodpractictoarousepeople,csDurage.WhileItisconnectedwithsocialenvironmentandculture.Thescarymoviesreflecttheculturalangstandinevitableexistenceoftheregionaldisparity.Culturesvaryindifferentregions,1makeitdifficultforustounderstandAmericanhorrorfilms.Nomatterinandabroad,thescholarshaveaccumulatedabundantexperienceintheresearchofhorrorfilms,whichresultinlargenumberofworksinthisfieldduringthelasttenyears.Forexample:"TerrorisMovieHundredYears","Black”Nightmare"Trail-Discusse^HollywoodHorrorfilmDevelopmentFourHistoricalstage","DiscussedtheHorrorfilm","Humanity,sTerror,AnxiousPointofviewProbe ModernTerroristMovieStudied"andsoon,inwhichtheydidtheresearchesonthescarymoviesfromdifferentspectsHowever,thecomparativestudyofhorrorfilmsisstillnitsinfancy.Therefore,thecomparativestudyofdifferentulturesbetweenChineseandAmericanhorrorfilmsisofgreatsignificance.Thus,thispaperputsitsstressmainlyonthecomparisonofculturaldifference；inhorrorfilmsbetweenChinaandtheUnitedStates.ThispaperconsistsoffourparThefirstchapterisanintroduction.Inthesecondchapter,theauthorfirstdescrilthedevelopmentcourseofChineseandAmericanhorrorfilmsbriefly,andthenthedifferencelsetweenChineseandAmericanhorrorfilmsareillustrateThethirdchapteristhefocusofthispaper,inwhichdifferentculturesreflectedinChineseAmericanhorrorfilmsareanalyzedfromtheanglesofhumannature,subjectandhorroreffects.Thelastchapterisaconclusion.ABriefAccountofChineseandAmericanHorrorFilmsTheDevelopmentCourseofAmericanandChineseHorrorFilmsHorrorfilmsbecamepopularinHollywoodafterthe1930s.AveryfamouscompanywasUniversalStudios,whoproducedlotsofscarymoviesadaptedfromaseriesofsuccessfulhorrorstories,includingthe“Mummy”“Frankenstein,”“Werewolf'andsoon.Bythe1950s,thethemeofhorrorfilmsbegantobroadenbecauseofthedramaticchangesintechnologyandthemoreattentionarousedbytheincreasinglypsychologicalproblems.Thesciencefictionhorrorfilmsappearedatth;time,thesourceofhorrorturnedfromthemonsterintothethreatmadebytheoutsiworld,includingtheinvasionofalienplantsandthedevastatingvariationofanimaandplantsAlongwiththeabolitionfproductionrulesin1964andthesustainedeconomicinterestsbroughtbythelow-costfilms,couplingwiththegrowingpublicfascinationwithmystery,theAmericanhorrorfilmsenteredintothegoldenageintl1970s.Scarymoviesinthe1970sweremorediversified,butthemostimportantstylemightbetheslatherwhichwasbeganfrom1970sandhadbeenfashionablefornearlytenyears.Themaincharacternthiskindoffilmsisyoungpeople,andthefilmsalwaysemphasizeonthebarbarityofmurderandthetruenessofspecialeffects.Atthesametime,thezombiefilmsbecamepopularandkeptthrivingvitality.TheAmericanhorrorfilmsafterthe1990swerestildevelopingtowardsthediversification.Thedifferentiationwasmoreseriousandblendedwithlotsofcomed：andparody.TheriseofJapanesescarymoviesalsomadetheAmericanbegintofocusontheEastAsianscarymovies.However,theyouth-orientedmericanaudienceswerestilinterestednthesensorystimulationItseemedthattherewerelittleprogressintheaudio-visuallanguageofscarymoviesinthistime,buttheemergenceofnewtechnologiesmadescarymoviesbeproducedatlowercost,andscarymovieswithlarge-scalesubjectiveshotalsobegantoemerge.Onthecontrary,Chinahasalonghistoryofhorrorculture,butthedevelopmentofscarymoviesisstillinfancy.ThefirstsuccessgotbyChinesescarymoviesshoubethefilmsThePhantomLover”directedMayXuweibangin1937,whichwassaidtobethebeginningofChinesescarymovies.Afterthat,therewereseldomscar：moviesinthemainland.Thenextarymoviesvhichwasknownbythemainlandpeoplewhohavehadnohorrorexperienceforalongtimeisthe“PainteSIkin”producedbytheHongKongdirectorin1965.Seeninthemoderntime,thismovies,whichwasadaptedfromthenovelLiaozhaizhiy?聊齋志異），isneithewmartnorhorror.Butatthattime,theaudienceswhohadneverwatchedscarymovieswerealsobeenscared.However,thiswasaflashinthepanafterall.Duringthepasthalfcentury,Chinahadonlyproducedafewhorrorfilms,andalmostallthehorrorfilmswereghostmovies,suchAaLonelySpiritinanOldBuil,dihegOmeninDevilTown”andsoon,andeveninthemoderntime,thesubjectofChinesehorrorfilmsisstillnotchanged.BecauseoftheimpactoftraditionalConfuciancultureandstrongprohibitioofproducingscarymoviesbythegovernment,themaincharactersfhorrorfilmssuchasbloodyandviolentaresensitivetothegovernment,sothatman：producersdarenotproducesuchkindofmovies,fortheextentofhorrorissohardholdandtheyareafraicthattheirnoviescouldiltpassthestrictnspectiohythegovernment.AtpresentthemostfamousdirectoofscarymoviesmaybeAGan,whoproducedseveralrelativelysuccessfulscarymoviesJtsiecRonelyspiritinanoldbuildin’g黑樓孤魂）（1989）,“OpiumSmuggler4夜走鬼城）（1989）,“theFoggyHouse〃（霧宅）（1993）,〃OddnessofOldMirror’（古鏡怪談）（2000）,"Cameraman"閃靈兇猛）（2001）,"Ghost”（兇宅幽靈）（2002）,MidnightFrigh"午夜驚魂）（2003）,“theGameofKilling天黑請閉眼）（2004）andsoon.（ShiChuan2006:13）TheDifferencesinChineseandAmericanHorrorFilmsDespitetheconstitutionabbyisensuspsychologicafoundationandtasteonthescarymovies,thehorrorfilmsofthesetwocountriesaredistinctonthesubjeceffect,originandsoon,whichexhibitthedeepinfluencecausedbytheirownnatioiculture.DifferentOriginsofTerroristCultureTheUnitedStatesissaidtobethecentreofthehorrorculture.aThishobby（traceitshistorybacktothebeginningoflast）cenaury”av（dJ.Skal,authorofTheMonsterShow:aCulturalHistoryofHoAmornsterrenownedinfolkloreandmyth,inparticulartheavampire”wasplayedbysomedwarvesandsavage,whichattractedthecrowdatacarnival.Scarymoviescameintofashionafterthedepressi（ofthe1930s.Thelivesofpeoplewereworsenedasaresultoftheeconomiccrisis.A；aresult,themassofpeoplepiledintothecinematowatchscarymovies.Thescarymovieswerenotonlyawayofreleasingoneself,butalsothereflectionoftherestatmosphereintheaghefilmsaGermanyAncientPulls”,“ScientificOddperson”,“IncarnatiDnctor“cameintobeingatthistime.AfterWorldWarII,thewararousedpeople,horrifipsychology.theyworriedabouttheoutofcontrolofhightechdevelopmentandthedisaffecti（ofsocialconditionwhichmadethehorrormoviespopular.Chinahasalonghistoryof5,000years.ItscultureofghostsbecameprevalentduringtheQinandHanDynasties,andwasparticularlyprosperousinSuiandTangdynastiesAccordingtothearchaeologistjieoriginareligiothatpresumestheexistencofghostsandgodscameintoexistencinthePaleolithiAge.Therearemanybooksaboutthelegendsofghosts,suchasghanhaijing（山海經）andSoushenj”（搜神記）.DifferentStylesofHorrorMovieThebottomlineofdifferentstylesofChineseandAmericanhorrormovieshasalwaysbeencultureTherearethreesubjects^fAmericanhorrorfilms:thefirstsubjectismainlyaboutsomeabnormalkillerpersonswithntisociqpersonality,especia11yheonesmanifestinaggressivepervertedcrimina19ramoralbehavior.Therepresentatimoviesofthiskindare“Alienations”d“Scream"S.incethemaincharactersnthiskindofmoviesareabnormalpersons,thethemeofthesemoviesismurder.Underthiscircumstance,moviesareunavoidablyfilledwithblood.Thesecondsubjectismainlyaboutghostsandmotilsteaistagonistsareghosts,ahrimans,andspeciesfromtheouterspaceinsteadofhumanbeings,andthewholestoriesrehappenedincastles7abitationasylumsorspaceshipswithnoperson,andtheprotagonisalwaysfightswiththeantagonisinhallucinatorytateTherepresentativemoviesofthissubjeThtearxorcist（3僅魔人），Alie”異性），Ghostshi比andTheSixthSensd’.Thethirdsubjectismainlyaboutpsychopathi--themaincharacteiisfriendlyitfirstindbecomedevilwithnowarningatlast.ThecharacteiinthiskindofmoviesisrelativellessandtherelationshijsrelativelsyLmple,andthehorrorishiddeninthesuddenchangeofstoryandatmosphere.TherepresentativemovMesea/eandSleepingwiththeEnemy”.Onthecontrary,Chinesehorrorfilmsarestillintheirinfancy.Thestyleofs（movieshasnotbeenformed.Accordingtomyanalyses,Chinesehorrorfilmssuchas“PhantomLover”“oggyNight”，“heFogHouse”andsoon,maygenerallbedefinedasthestorybetweenghostsandhumanbeingsandtheghostwouldhavedifferenroles,forexample,personplaystheroleoftheghostandcatchestheunprincipledperson,ortheghostappearswiththeTaoistappearingatthesametimeandfinallybekilledbytheTaoistwith誼scanlblssobecalled“ghostmovies”inasense.Forexample,inthemoviesPhantomLover”夜伴歌聲），themaincharacterisageniussingerwhosefacehasbeendeformed.Heisahandsomesingerfallinginlovewiththedaughterofwarlord.Sinceheisarevolutionarymember,th1lovecomesoutwithnoresult.Andthewarlord,sunderstrapperdisfigureshim.Thenheinventsfalsenewsthatheisdead.Everynighthesingsinthetheaterandpeoplconsiderthisasaghostsbehavior.Attheend,heguidespeopletocatchthemurderer.DifferentHorrorEffectsDifferenthorroreffectsmanifestdifferentculturesbetweenChinaandAmerica.ItssaidthatthedifferencessimilartothatbetweenEasternpaintingintheimpressionisticmannerandtheWesternoilcolorpainting.Thefeelingofoilpainti]isclearataglance,whilethepaintingintheimpressionistmannerhasulteriormotives”Li(Fang,18).Differentiorroreffects^etweenChineseandAmericanhorrormoviesarereflectedntheartistitechnique—visualhorrorinAmericaandpsychologicalhorrorinChina.aTheAmericanscarymoviesalwaysrelyontheirhightechnology,andstressonthevisualstimulus,attracttheatitiebiencesthroughallkindsofbloodyandviolentscenes”(CaiShenqi,37),whichonlybringsasenseofvisualhorrorfeelingandthebloodymassacreplotsfrequentlyppearinthefilms,whichbelongstothefieldofforceaestheticsandcausescruelfeelingtohumanbeings.Fexample,theaAlienResurrection”usestheuglyorganismstoshowthehorror.Theuglyorganismslookliketheancientdinosaur,whichisstrongandhuge,itkeepseatinghumanbeingandthebodyofhumanbeingisfoundhorriblynangledandhardlytoberecognized.InChinesehorrorfilms,therearefewbloodymassacreplots.Itmainlydependsonthefunctionofmusicandtheatmosphere.Itputsintensepsychologicalstressontheaudienceandcreatesthepsychologyhorror.Itsvisualmodelingisthegloomyimage.ThemoviesalwaysseemcalmnessonthesurfaceandthecharacterarealwayscommonpeoplewhoencounterbizarreeventscontinuouslyandmakethehorroratmospherestrongenndstrongerTheghostwouldnotappearuntilthelastmoment,andleadthehorrorfeelingtotheclimax.TakeTheLonelySpiritinanOldBuildingof1980sforexample.AlthoughitssynopsislookslikeaHollywoodmovie,itputgreatimportanceoncreatinthehorriblatmosphere,ratheithanthebloodyplots.

Inshort,theAmericanhorrhrsfaretobe“viewed”,butthehohiroesInshort,theAmericanhorrhrsfaretobe“viewed”,butthehohiroesfilmsstress“thefeeling”.Withoutarealobjectinthematerialworld,itmaycaubighorroronthespiritofhumanbeing.HI.DifferentCulturesReflectedinChineseandAmericanHorrorFilmsMoviesaretheproductofart,andtheirbasicfunctionistoexhibitalltheas]oftheobjectiveworld.CultureisthemostimportantpartofthespiritualcivilizaHumancannotproducemovieswithouttheobjectivworldaswellastheculture.Althoughvaluesdeterminethethoughtofpeople,theculturabackgroundandthepsychologyalsoinfluenceitalot.Thethreeelementsabovearenaturallythestand;rulesofproducingandappreciatingamovie.Kolleroncesaidthatmovieisamannerofculturadisplayinwhichdrawspeople,attentioonthesociet,yculturdsthefoundationofmovie,andmovie,inturn,enrichesculture.CulturesReflectedintheSubjectsAsthecontentmentionedabove,thesubjectsofAmericanhorrorfilmsincludesabnormalkillers,ghostsandmonsters,andpsychopathic,whilethefocusofChinesehorrorfilmsisonlyghost.America,asarelativelyoungcountry,doesnothaveconfusedhistoryrndtraditionaultureHisbloodcorpseseriesLsinheritedromtheclassicalorkofChristianitytheBible.TherearequitealotofscenesofhorTiidein,taedtheChristiastoryhasbeengreatlyexaggeratecthehorrorsofHellorDoom.Themostprominentpartshouldbethe“Apocalypse'whichdepictsthewarbetweenangelandSatan,andthemassacre,plague,disasterndfamine,aswellaslotsofmysteriousandterriblsymptomsabouttheendofthetrialBecauseofitsvividlanguage,fantasticimagination,vividimageryandstirringApomantum,”getsahighliteraryachievementandhasamajorimpactontheWesternliterature.T!horrorworkssuchasGothicfiction,aswellasthefolkhorrorstoriesandtherelistoriesallhavebecomethesource,sfhorrorfilms.Onthecontrast,thecultureofghostshaslonghistoryinChina.Accordingtotarchaeologist,eoriginareligionhatpresumestheexistencofghostsandgodscameintoexistenceinthePaleolithicAge.Therearemanybooksaboutthelegendso:ghosts,suchSiaHhaijing山海經）and“bushenj”（搜神記）.ChinesecultureofghostsisalsosuppressedbyConfucianism,TaoismandBuddhism.TheConfucianismpaidmuchattentiontofuneralandsa,crarfdcaahgittedtheexistenceofghosttosomeextent.TheTaoismwastheoriginoffolkmagicandshapedlotsofendureswithsuccessfulbiographiesandmadepeoplebelievethattheywouldbecomeghostaftertheydie,andwouldalsobecomeendureiftheyfollowtheTaoism.TheBuddhismpublicizedtheexistenceofhell,andtogetherwiththepropfeghcondeiptconstitutedhecomplexsystemofghostDom.Thesekindsofculturabystemstogethernakepeoplebelievetheexistence)fghostandprovidedthetheoreticaloriginofghostmovies.Furthermore,Chinesehorrorfilmsareinfluencedbymanyfactors,suchasthetraditionConfucianism,“foumodernizations”dvocatedbyChinesegovernmentandtheinitiatispirituadivilizationnstructiofT.akethemovies“heLonelySpiritinanOldBuildingexample.Inthemovie,thereappearstheghostimage,andthecriminalhasnotbeenpunishedaccordingtothelaw,butattheendofmovie；thelastlensshowsthatthepatientweretellingtoryinamentalhospitalwhichcarriesoutthesubversiontotheentirepiece.Ittellsusthatthisfableonlysteitheneurosispeople,simaginationTherefore,thehorrorfilmsmostlyrevolvethesubjectoftomurderwithaborrowedknife“，terriblyuspiciouandfearfubymisunderstandingandthefabl”(JiangLi,58).AnditisthereasonforChinesescarymoviestoberestrictedinthestyleof“thepersontoplaytheroleoftheglandcatchestheunprinciplep.erson”Chinesemoviescandescribetheghosts,buttheyshouldbeputntotheancienttimes,dthenthedirectowsllbeallowedtodisplaytheghostjustifiabletcanbeconsiderecthatthereisn,anytrueshorrorfilmsamongmodernChinesehorrorfilms.What'smore,thediffereantsofthinkinganotherreasonwhichmadethesubjectofAmericanhorrorfilmsisdiversiformwhilethatofChinesehorrorfilmsi；relativelsingleChineseisdeeplyinfluencedbytheConfucianism,whichalwaysadvocatethedoctrineoftheMean.ThecoreofMeanisthatbeyondisaswrongasfallingshort,whichnotadvocatedoingtoomuch,andcombatnotdoingenoughatthesametime.Itrejectsextremeandadvocatescompromise.ThisfixedthinkingpatternmaketheChinesefollowtheformerlineofthoughtandrejeclothermannersofthinkingandinclinetolookingforthebasisfromthehistorywhentheymeetproblems,whichisreflectedinthescarymoviesasthefixedmoviessubject,forth(directordon'twanttocreatesomethingnew.AmericaisameltingpotfillewithpeoplecomingfromdifferentcountrieswithdifferentctMitiliri璃pTheternofwesternpeopleislayingstressonconflict,andmakespeopleliketobreakthrougholdmannerofthinkingwhentheyfacesomethingnew,sothethinkingmodeofwestdirectorisdivergentandtheyliketocreatenewmoviesstylesWhat'smore,Americaisayoungcountrywithnorichhistoricalesourcetoexcavate,andtheAmericanalwaysmakeeverythinginaccordancewiththeneedsofmodernpeople,sothatthesubjectofhorrorfilmsisdiversiform.CulturesReflectedintheHumanNatureThispartwillpursuethedifferencebetweenChineseandAmericanscarymoviefromtheaspectofthehumannatureAmericaisbold,ChinaisdrearyAmericanpursuesthevisualimpactjustlikeinHollywood,smovie,thefeelinginthevisualintense,bloody,violent,e.g.:“Scream”,“TheShining”,theterroristroleintofmovieis“personb,uttheirriskliesinthattheyarethemetamorphosisperson,“themurder"isitsmainperformanceofmetamorphosis.Sothemovieisunavoidablyfilledwiththesmellofblood,andthenhandlesthesharpweaponwithbloodtopursislaughteryhichbecomesthemovie,terrorioriginChinesepayattentiohothethought,incliningoembarkfromhuman,sinnermostfeelingsastheyregardtheinnermostfeelingsasthetrueterror.Americanpeopleliketofaceaproblemsquarelyandspeakfrankly,straighttothepoint.Whentheycommunicatewithotherpeople,there,snooverchin,theyalsobearthemselveswithoutceremony.Intheoffice,youwilldiscoverthatthewhite-colladoesnotputonthecoatorwithoutthenecktieandintheuniversitycampus,professorwearsjeantoattendclass.(ZhouFeng2004:56-57)Simultaneously,Americanspeaksfrankly;theydonotliketobeataroundthebushtoshowpoliteness,theyliketoexpresstheirownviewpointandtheopinionfrankly.Suchhumannaturecarriessomeeffectonthedirect-viewingviolenceandbloodinitsscarymovie.ThetraitfEasternculturashumilityinlearningChineseholdthemoderateviews,whichleadtotheirmannerofhandlingmattersquitetemperately.Forexample,whenyouofferChinesepeoplesomethingtodrink,theywillrefuseatfirst,andyoushouldmakeasecondoffer.ItclearlyshowsthatChinesepeopleismodest.Asbeingreflectedntheterrorimtvie,itislackofterroridynamics.Mostofthepeoplethinkthatdomesticallyproducedscarymoviesarenothorribleatall,astheycannoapplythemselvestothebloodyscenesbecauseoftheinspectionalpolicyofChinesemovie.Rather,theyfocusonthepsychologicalmovie.However,thedirectordoesnothaveagoodgraspofhorror,sothegapinthedegreeofhorroriswidebetweenChineseandAmericanscarymovies.CulturesReflectedintheHorrorEffectsDifferenthorroreffectsbetweenChineseandAmericanhorrorfilmsarereflectedontheartisttechnique visualhorrorinAmericaandpsychologicahorrorinChina.Americanisextrovert,Chineseisintrovert.AmericanspursuethevisualimpactjustlikeinHollywood,smovies,thefeelinginthevisualisintensebloody,andviolentp.g.:“Scream”“TheShining.Thehorrorroleinthiskindofmoviesis“person”,buttheireriskthattheyarethemetamorphosisperson,“themurder”isthemainperformanceofmetamorphosis.Sothemoviesareunavoidablyfilledwiththesmellofblood,andthenhandlethesharpweaponwithbloodtopursueslaughter,whichbecomesthemovie’siorrororigin.Chinesepayattentiotothethought,incliningtoshockinghuman,sinnermostfeelings,astheyregardtheinnerhearthor:asthetruehorror.Americanpeopleliketofaceaproblemsquarelyandspeakfrankly,straighttothepoint.Whentheycommunicatewithotherpeople,theyalsobearthemselveswithoutceremony.Intheoffice,youwilldiscoverthatthewhite-collardoesnotpuonthecoatornecktie,andintheuniversitycampus,professorwearsjeantoattendclass.Simultaneously,Americanspeaksfrankly.TheydonotliketobeataroundthebushtoshowpolitenesstheyliketoexpresstheirownviewpointandtheopinionfranklySuchhumannaturecarriesomeeffeclonthedirect-viewingiolenceandbloodintheirhorrorfilms.ThetraitfEasternculturashumilityinlearningChineseholdthemoderateviews,whichleadtotheirmannerofhandlingmattersquitetemperately.Forexample,whenyouo