From until , Hollywood movies were shaped by the Production Code , otherwise known as the Hays Code. Given that homosexuality was considered either a physical or psychological malady in the early 20th century, the code effectively legislated any limited queer presence out of existence. Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin. In other words, for a long time, cinematic queers were pushed underground, relegated to existing only in subtext — and most often as villains. In order to get queer stories onscreen, filmmakers had to find creative ways to subvert the system. Queerness was codified as taboo when the Hays Code went into effect in
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Jiangshi fiction or goeng-si fiction in Cantonese , is a literary and cinematic genre of horror based on the jiangshi of Chinese folklore, a reanimated corpse controlled by Taoist priests that resembles the zombies and vampires of Western fiction. Hong Kong jiangshi films like Mr. Vampire and Encounters of the Spooky Kind follow a formula of mixing horror with comedy and kung fu. Derived from Chinese folklore, jiangshi fiction first appeared in the literature of the Qing Dynasty. The jiangshi is a corpse reanimated by a Taoist priest. The priest commands the jiangshi and directs it to a location for a proper burial.
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I was afraid to raise my eyelids, but looked out and saw perfectly under the lashes. The girl went on her knees, and bent over me, simply gloating. There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck she actually licked her lips like an animal, till I could see in the moonlight the moisture shining on the scarlet lips and on the red tongue as it lapped the white sharp teeth.
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