The Vindictive Woman: Classifying Female Monstrosity Within the Theory of Horror

Asian Horror has accumulated a large following due to its ability to scare an audience through psychological suspense that leaves a mark for days. Most scholars also give credit to Asian Horror’s ability to manifest moral ramifications into gory yet enticing images. These exciting alternatives differ from conventional Hollywood horror movies, which often heavily rely on jump scares and special effects, without giving careful attention towards creating a creepy atmosphere for which Asian horror is notable for. However, when looking at who is leading the slow burn of Asian horror and bringing the genre to a much more gruesome level, there is an overwhelming presence of women. To understand what the female presence means in Asian horror films is to investigate one of the leading nations in the film industry when it comes to the genre: South Korea. What is critical of women in Korean horror films is their frequent role as the perpetrator rather than the final girl as is central to many Hollywood horror films. Instead, these female protagonists challenge deep issues within society such as murder, abuse, and the portrayal of femininity by accepting their roles as women who do not follow societal norms. Through a visual analysis of Korean films Bedevilled (2010) by Jang Cheol-Soo, Mother (2009) by Bong Joon-ho, and The Isle (2000) by Kim Ki-duk, this research project seeks to investigate how cultural elements have an impact on the delivery of horror in these films. More specifically, it will look at the cultural impact of women in Korean horror and how they are positioned as the perpetrators and not only the victims through the analysis of vengeful female protagonists. Further, it will use Korean horror as a case study to challenge Noel Carroll’s theory of horror by proposing a different classification of monsters.