Chapter 51 fear pattern of the year

How can it be so scary? Galaxy Image's 1997 "Chicken of Horror" is in the top three, if not the most outrageous film of my viewing career.Wherever Ye Xiaoyan went, the sky and the earth immediately changed color, one second it was still sunny, and the next moment it changed into a dense rainy night, accompanied by depressing synthesizer music, the lights were also dimmed, and strangers hurried to avoid it. The scene was cleared in an instant, and the victim didn't even get the luck of the witnesses.In such a favorable time and place, she tried to find a new identity for herself with no expression on her face, just like a drenched female water ghost who went ashore to find a replacement. Local materials are always invincible, what she wants is determined, and what falls into her eyes, she can never get rid of it.The spirit of treating people as meat on the chopping block is of course the starting point of all criminals' eternal behaviors, and the historical backing of "not treating people as people" is the support and source. "Scary Chicken" made me terrified, but it also made me ashamed to ask myself, I don't know if I have such a human and beast factor in the end of the world.

Knowing your true impression in other people's minds is mostly uncomfortable, so the "killing game" that is popular on the wine table often leads to real murders. Even Yishu repeatedly stated in the novel that "the west bank is full of sunshine" and repeatedly portrayed women. The attitude of the protagonist tidying up the suitcase with determination and staring into the distance will make me slightly disgusted.A hundred years of hard work and the Stockholm Syndrome bound by their respective circumstances have become paranoia without becoming paranoid.What's more, "Scary Chicken" tells the anxiety of identity replacement in such a terrifying way. I am willing to understand but it is rare to understand. After all, any place where you are is a pretentious gesture.My body is not in your place after all.

But I still understand that for Hong Kong people, there is a huge thing in their hearts, and stories are needed to express their feelings-anxiety about identity and future. "Banners of Province and Hong Kong" is too direct - the publicity of the ghost attacking the city is hearty, but euphemism and subtlety are the way to write, and the identity anxiety finally found a proper condensate, which is attached to the story of the female ghost. Until now, in "A Chinese Ghost Story" in 1987, Nie Xiaoqian was in an awkward position, and her theme song was called "Don't Come at Dawn".

The spewing female ghost movies gradually overdraw the anxiety, and ten years is enough to make the anxiety less acute, but around 1997, the topic of identity was on the agenda again, this time borrowing from comrades who have both pleasure and despair theme.This year, Leslie Cheung first came out in the last performance of his comeback concert in January, followed by Wong Kar Wai's "Happy Together", Yang Fan's "Beautiful Boy Love", Stanley Kwan's "The Happier the More Depraved", Huo Yaoliang "The more depraved, the more heroes" appeared successively.Why are they so coincident?Probably because, all the people who are overwhelmed by the country are the antennas of the times, and they are the puppets of the times. They speak for the times when it is inconvenient to say, and they practice what the masses feel dimly but don’t know how to do.

However, the Galaxy image is not so euphemistic. Zeng Jinchang's "Scary Chicken" tells the fear of being replaced in an almost insane way, but once the fear in reality reaches a critical point, the psychological fear is not so strong. The horror of "Scary Chicken", at least not in the style of 1997's horror, so it is difficult to echo.