This paper traces how one horror story served as a blank canvas that allowed filmmakers across cultures, decades, and the political spectrum to utilize it as a remake and a medium for conveying their positions, as well as a vehicle that would allow them to cross national borders. Thus
I explain how the lineage of Ye Ban Ge Sheng can provide a critical perspective on the intersection of politics, movies, and commerce in 20th Century China. In particular, an examination of Ye Ban Ge Sheng and its 1941 sequel shows how Maxu Weibang is adept at shifting his message according
to the political tides.
Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.