The Thrill of Cultural Divergence: Asian and Western Storytelling in Thriller Film
In the realm of cinema, aesthetics play a pivotal role in shaping the viewer’s experience, transcending mere visuals to encapsulate cultural essence and narrative depth. Aesthetic choices in film — ranging from cinematography, color palettes, and mise-en-scène to editing techniques and sound design — are instrumental in conveying a film’s thematic core and emotional undertones. Interestingly, these choices can vary significantly across different cultural contexts, resulting in distinct cinematic languages that evoke unique emotional responses and perspectives.
When considering film aesthetics, it is fascinating to observe how different cinematic methods can drastically alter the language of a film. This divergence often raises questions about the influence of cultural differences on cinematic taste and style. For instance, Asian and Western films, particularly in the thriller genre, exemplify how cultural values and societal norms shape aesthetic expressions and narrative structures. It delves into the darker aspects of society and human nature, making it an apt medium to explore cultural differences. Asian thrillers often emphasize communal values, social hierarchies, and collective anxieties, while Western thrillers tend to focus on individualism, personal conflict, and psychological depth.
What makes a film unique to its culture, and what endows it with its distinctive aesthetic? This inquiry delves into the interplay between cultural identity, historical context, and artistic innovation. By exploring how these elements influence the aesthetic choices in thriller films, we gain insight into the broader cultural narratives and societal critiques embedded within cinematic works. Understanding these nuances not only enriches our appreciation of global cinema but also highlights the power of film as a medium for cultural expression and dialogue.
Asian thriller films often emphasize social hierarchies and collectivism, reflecting the communal values prevalent in many Asian cultures. For instance, Bong Joon-ho’s “Parasite” critiques class disparity through a narrative deeply embedded in South Korea’s social fabric. The visual contrast between the cramped, dark basement of the Kim family and the luxurious, spacious home of the Park family underscores the rigid social stratification and the collective societal impacts of wealth disparity (Bong, 2019). This focus on collectivism is a broader reflection of Asian cultural norms where community and familial bonds are prioritized over individual desires. This collectivist approach is not merely a narrative choice but a reflection of the historical and societal structures that shape Asian cultures.
Films like “Battle Royale” further illustrate this by highlighting societal conformity and the competitive environment faced by students, using stark, documentary-like aesthetics to emphasize the brutality of enforced competition, resonating with Japanese cultural anxieties about conformity and success (Fukasaku, 2000). The film’s portrayal of a dystopian society where students are forced to kill each other reflects deep-seated concerns about societal pressures and the intense competition inherent in Japanese education and career paths. The use of realistic, almost unembellished violence serves to enhance the impact of these themes, making the viewer acutely aware of the stakes involved.
Similarly, “Oldboy” by Park Chan-wook subverts traditional revenge narratives to explore themes of fate, familial bonds, and the cyclic nature of violence (Park, 2003). In “Oldboy,” the hallway fight scene is one the most famous sequence in the film that demonstrates the it’s style and narrative structure. The protagonist, Oh Dae-su, fights his way through a corridor filled with adversaries in a single continuous take. This scene subverts traditional action sequences by focusing on the raw, almost primal nature of the fight, emphasizing endurance and pain. By utilizing a distant long take and not close-up fast edit action sequence, the unbroken continuity immerse the audience in Dae-su’s relentless struggle, reflecting themes of fate and the cyclical nature of violence. It also underscores the intense personal journey and the broader societal critique of revenge and its consequences.
The film’s the blending of genre elements, including noir, thriller, and psychological drama, allows the film to delve deeply into complex emotional and societal issues, offering a critique of both individual and collective actions.
In contrast, Western thrillers frequently focus on individualism and personal conflict. Films like David Fincher’s “Gone Girl” and “Se7en” center on personal motivations and individual psychological battles, aligning with Western values of self-reliance and personal agency. “Gone Girl” explores the intricate dynamics of a disintegrating marriage, while “Se7en” follows a detective’s moral and psychological journey through a series of gruesome crimes (Fincher, 2014; Fincher, 1995). Fincher’s another film “Zodiac” also embed it’s narratives within contexts of personal dysfunction, reflecting Western fascination with individual determination and the psychological toll of such pursuits (Fincher, 2007).
In “Zodiac,” the scene where Robert Graysmith meets with an anonymous informant in the basement of a theater is iconic and underscores the film’s focus on individual determination and psychological tension. As Graysmith realizes he might be in danger, the tension escalates, reflecting his obsessive quest to uncover the Zodiac killer’s identity. The film’s detailed depiction of this obsessive quest serves as a broader metaphor for the search for meaning and justice in an often chaotic and indifferent world. These films use intense personal struggles to drive their narratives, reflecting a cultural focus on individualism. This focus on individualism is deeply intertwined with Western historical contexts where personal freedom and self-reliance are highly valued.
The thematic expressions in thrillers are deeply intertwined with the unique social hierarchies and historical contexts of each culture. The societal critiques embedded in these narratives often reveal the underlying cultural anxieties and historical influences that shape each society. For instance, the societal critique in “Parasite” is not just about class disparity but also about the historical and social conditions that perpetuate such disparities. This societal critique is further enriched by the film’s aesthetic choices, such as the contrasting visual presentations of different social classes and the use of space to symbolize social mobility and confinement.
In the film’s most iconic flood scene where where the Kim family’s semi-basement home gets inundated with rainwater is iconic and deeply symbolic. This reflects the harsh reality of social stratification and the vulnerability of the lower class in South Korean society. As the family wades through the water and loses their few possessions, the disparity between their lives and the lives of the wealthy Park family is starkly highlighted. This scene visually and emotionally underscores the theme of collectivism and social hierarchy, showing how natural disasters disproportionately affect those at the bottom of the social ladder. The flood serves as a metaphor for the overwhelming and inescapable nature of poverty, reinforcing the film’s critique of class disparity.
Similarly, Western thrillers often use psychological realism and direct conflict to explore personal and systemic dysfunctions. Films like “The Silence of the Lambs” and “Zodiac” focus on tangible and immediate aspects of fear and tension, with little to no spiritual or mystical elements (Scott, 1991; Fincher, 2007). This approach aligns with the Western preference for directness and clear-cut narratives, where the psychological depth and personal conflicts are central to the narrative drive. The emphasis on individual motivations and the psychological complexity of characters provide a stark contrast to the more collective and socially oriented themes often found in Asian thrillers.
The exploration of cultural differences in thriller films can be further enriched by considering the intersections of language and identity. In “Should Writers Use Their Own English?” Vershawn Ashanti Young discusses how linguistic diversity and code-meshing reflect cultural identities and resist dominant language ideologies (Young, 2010). This concept can be applied to cinema, where the use of local dialects and linguistic styles in films like “Parasite” and “Battle Royale” not only adds authenticity but also challenges the hegemony of standard language norms, creating a richer, more inclusive narrative. This linguistic authenticity helps ground the films in their specific cultural contexts, making the narratives more relatable and impactful for local audiences. For instance, the use of regional dialects in “Parasite” adds an additional layer of realism and cultural specificity, allowing the film to resonate deeply with South Korean audiences while also offering international viewers a window into the nuances of South Korean society.
Dick Hebdige’s “Subculture: The Meaning of Style” also explores cultural difference, specifically how subcultural styles resist dominant cultural narratives and create alternative meanings (Hebdige, 1981). This idea is evident in Asian thrillers, which often subvert traditional narratives and aesthetic conventions to critique societal norms. For example, the visual style and narrative structure of “Oldboy” challenge conventional storytelling, reflecting a subcultural resistance to mainstream cinematic norms (Park, 2003). Similarly, Steven Pressfield’s discussion in “Nobody Wants to Read Your Sh*t” about breaking conventional storytelling rules to create compelling narratives resonates with the innovative approaches seen in Asian thrillers (Pressfield, 2016). These films often blend genres and experiment with narrative structures to create unique, thought-provoking experiences.
Through the exploration of how social hierarchies, historical contexts, and themes of collectivism versus individualism shape thriller films in Asia and the West, we can better understand the barriers that exist and how to overcome them. The success of “Parasite” serves as a testament to the potential for cross-cultural resonance when filmmakers skillfully blend subtlety with directness, creating narratives that speak to universal human experiences while respecting cultural specificity. Bong Joon-ho’s use of subtlety in character development and narrative structure, combined with direct social commentary, allowed the film to resonate across cultural boundaries. The film’s technical execution, including its cinematography, lighting, and sound design, enhances this blend, creating a universally compelling experience. The seamless integration of social critique with thrilling suspense made “Parasite” a unique crossover success, demonstrating that understanding and skillfully navigating cultural differences can bridge the gap between Eastern and Western cinema. Through such efforts, we can hope to see a more inclusive and diverse global film industry that values and celebrates the unique contributions of all cultures.
By examining the distinct approaches to themes, communication styles, and technical execution in Asian and Western thriller films, this study aims to uncover the cultural nuances that influence their reception. Through this analysis, filmmakers can gain insights into how to craft narratives that resonate with diverse audiences, ultimately fostering a richer, more inclusive cinematic landscape. Understanding these cultural differences and finding ways to make culturally specific narratives more accessible can help bridge the gap between Eastern and Western cinema, allowing for a greater appreciation of the rich, diverse storytelling traditions that exist worldwide.
Reference
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Fincher, D. (Director). (1995). Se7en [Film]. New Line Cinema.
Fincher, D. (Director). (2007). Zodiac [Film]. Paramount Pictures.
Fincher, D. (Director). (2014). Gone Girl [Film]. 20th Century Fox.
Fukasaku, K. (Director). (2000). Battle Royale [Film]. Toei Company.
Park, C. (Director). (2003). Oldboy [Film]. Show East.
Scott, R. (Director). (1991). The Silence of the Lambs [Film]. Orion Pictures.
Hebdige, D. (1981). Subculture: The Meaning of Style. Routledge.
Pressfield, S. (2016). Nobody Wants to Read Your Sh*t: Why That Is and What You Can Do About It. Black Irish Entertainment LLC.
Young, V. A. (2010). Should Writers Use Their Own English? Iowa Journal of Cultural Studies, 12, 110–118.
Vanity Fair. (2023, Aug 18). ‘Oldboy’ Director Park Chan-wook Breaks Down Hallway Fight Scene | Vanity Fair. Youtube. https://www.youtube.com/watch?v=JFfwgv8b3kY&t=67s&ab_channel=VanityFair
Studiobinder. (2020, Apr 20). Parasite Analysis — Bong Joon Ho’s Mastery of Genre and Tone. https://www.youtube.com/watch?v=D5qyna6kcGA&ab_channel=StudioBinder
