| Summary: | 碩士 === 南華大學 === 社會學研究所 === 93 === All cultural spheres are infiltrated by postmodernism, in which the metamorphosis of textual genre has proliferated. Since Chinese-speaking horror film has provoked a fashionable current starting with “Encounter of the Spooky Kind” 1980, a semiotic turn emerged from original folklore esoteric elements of the China tradition to exquisitely invented new cultural reality. This turn challenges the cultural experience of the audiences. Beginning year 2000, horror film such as “Visible Secret “series and “The Eye”has turned into not as fear-provoking as traditional style like “Mr. Vampire”anymore, but more constituents of anxiety regarding the new age. The anxiety was insensitively exposed before us in terms of “simulation”, which becomes “new reality” rather than reality. From the simulation style we can extricate some postmodern cultural tracks, and thus to gaze the process of semiotic metamorphosis of viewers themselves.
This research takes on the analytical strategy of the four steps of simulation of the Baudrillard’s, to analyze 22 pieces of Chinese-speaking horror film, in order to sketch out how the films’ signification formulates an effect of postmodern mutation concerning the cognition of “horror” and “ghost matter”, and how they conversely reveals the barren social scene of postmodernism. However, in contrast, this research abandons metaphysics, and the extremist claim of Baudrillard’s. Hence, while adopting his analytical strategy some reservation is sustained.
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