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Family and kinship in Chinese society. Stanford University Press. Gao, Z. (2007). Serving a stir-fry of market, culture and politics – On globalisation and film policy in Greater China. Policy Studies, 30, 423–438. doi: 10.1080/01442870902899889 High, P. B. (1986). Japanese film theory and the national policy film debate: 1937-1941. , 2, 133–149. Hong, G.-J. (2011). Tracing a journeyman’s electric shadow: Healthy realism, cultural policies, and Lee Hsing, 1964–1980. In Taiwan cinema (pp. 65–86). Springer. doi: 10.1057/9780230118324_4 Jameson, F. (1986). Third-world literature in the era of multinational capitalism. Social Text, 15, 65. doi: 10.2307/466493 Film Council, 2023). Given horror’s estimated share of domestic film production, such performance is proportionate. A significant thematic element in South Korean horror is social commentary, addressing issues such as urbanization, capitalism, and the erosion of traditional values—not unlike Taiwanese horror (Exploring the dark art…, 2024). However, while Taiwanese horror frequently engages with questions of identity and historical trauma, South Korean horror is more often preoccupied with class struggle and systemic injustice, themes that have become increasingly relevant in modern South Korean society. South Korean horror also draws heavily from its own rich mythology, incorporating spirits and other mythical creatures into its narratives. These supernatural elements serve as metaphors for the collective traumas and fears of the society (Exploring the dark art…, 2024). In this respect, Korean horror shares similarities with Taiwanese horror in its use of folklore; Korean horror shares many of the same influences as Japanese horror as well (Byrne, 2014), reflecting the broader regional influences in East Asian horror, where certain supernatural themes and symbolic representations transcend geographic boundaries. Taiwanese horror distinguishes itself by grounding its supernatural elements in highly specific cultural and historical contexts. Rather than using well-known regional motifs, it prioritizes local folklore as part of a broader effort toward cultural preservation, making it not only a genre of entertainment but also a medium for cultural expression extending beyond traditional horror conventions. Conclusion The notable appeal of Taiwanese horror among local audiences can be attributed to the genre’s thematic and narrative foundations, which draw from history, folklore, and contemporary social pressures to create narratives that resonate with local audiences. As political tensions rise and questions of national identity become more urgent, the genre’s roles as both an escape from and a reflection of these concerns become even more significant. Horror has always been shaped by the fears of its time, and in Taiwan, those fears are increasingly tied to uncertainty about the future. This ongoing tension is what makes the genre so compelling—and why it will likely continue to evolve in ways that speak to both local and global audiences
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