Growing up with Chinese folklore and tales, I developed a deep connection to the rich cultural heritage and the unique world of mythical creatures, spirits, and supernatural beings. My experiences of listening to and reading these stories left an indelible mark on my imagination, influencing my perception of fear, morality, and the unknown.

Among the various genres that this cultural treasury has inspired, horror has the unique capability to tap into the primal fears and psychological terrains of the human experience.  Chinese folklore horror resonates with me on a personal level because it intertwines elements of the fantastical and the macabre, drawing upon familiar narratives that have been passed down through generations. These stories are not just simple tales to incite fear; they are imbued with lessons and cultural values that reflect the beliefs and customs of Chinese society.

 

As I grew older, I began to appreciate the artistry and skill involved in bringing these tales to life in a visually arresting and narratively engaging manner. Consequently, the fusion of my personal experiences with Chinese folklore and the genre of horror fostered a deep appreciation for the unique aesthetic of Chinese folklore horror.

Now, as I delve into the world of cinema and production design as a practitioner, I would like to explore the elements of production design to be utilized to create the visual style of Chinese folklore horror. 

By analyzing and understanding the techniques involved, I hope to contribute to the preservation and growth of this captivating and culturally significant genre.

 

1.1 Research Project and Background/Context

 

It is within this intersection of cultural mythology and cinematic horror that this research project, encapsulated by the production design-centric artefact 'Sister Drum', is situated. 

 

The project at hand delves into the depths of visual storytelling, with a sharp focus on the role that production design plays in sculpting the visual style of a Chinese folklore horror narrative. The production design is not merely a backdrop against which stories unfold; it is an active, essential participant in narrative construction, mood setting, and emotional engagement. The backdrop for this exploration is 'Sister Drum', an interpretative piece that draws its inspiration from the haunting and often surreal realms of Chinese folklore.

 

'Sister Drum' emerges as the centrepiece of this inquiry — a short film that serves as a manifestation of the theoretical insights and empirical findings of this research. It is the practical application of the research question, where hypotheses are tested, and theory meets practice.

 

The significance of 'Sister Drum', and the research surrounding it, extends beyond its immediate academic and creative outputs. This project contributes to the ongoing discourse on the function and articulation of culture-specific narratives in global cinematic contexts, offering insights into how production design can be leveraged to create genre-specific atmospheres that resonate with both local and international audiences.

 

1.2 Research Question and Hypotheses

 

The guiding question for this investigation is: "How can the elements of production design be effectively harnessed to create the visual style integral to Chinese Folklore horror?" The hypothesis posits that a nuanced and culturally sensitive application of production design elements can significantly enhance the atmospheric depth and immersive quality of a Chinese Folklore horror story.

 

1.3 Aims and Scope of Research

 

The aims of this research are multi-layered: to theoretically explore the nexus between production design and storytelling within the horror genre, to empirically apply this knowledge through the creation of 'Sister Drum', and to analyze the implications of these findings for the broader discipline of film-making. The scope is thereby defined not only by the boundaries of 'Sister Drum' as a creative endeavour but also by the broader implications for practice-based research and the potential for these insights to inform future works within the genre.

 

1.8 Definition of Key Terms

 

Mise-en-scène: A French term used in film production to describe the arrangement of everything that appears in the framing – actors, lighting, décor, props, costume – and how those elements help tell the story.

 

Iconography: The use of a well-established and symbolic set of images and figures within a cultural context, which in this case would be specific to Chinese folklore.

 

Motif: A recurrent thematic element in an artistic or literary work, which in production design could relate to recurring visual elements that have thematic significance.

 

Cultural Semiotics: The study of signs and symbols as elements of communicative behavior; the analysis of systems of communication, as language, gestures, or clothing within a particular cultural context.

 

Folkloric Archetypes: These are typical character types or symbols recurring in folklore and mythology, which in the context of Chinese folklore may include specific creatures, heroes, or entities.

 

1.9 Structure of the Exegesis

 

This exegesis is structured to mirror the journey from conception to realization of the project. Following this introductory chapter, Chapter 2 reviews the literature on production design within the horror genre and the specificities of Chinese folklore narratives. Chapter 3 details the methodology and methods used, while Chapter 4 presents the development process of 'Sister Drum'. Chapter 5 discusses the analysis and insights gleaned from the project, and the final chapter concludes with a reflection on the research outcomes and their broader implications.

 

This initial chapter sets the stage for a journey into the heart of Chinese folklore horror, through the medium of production design, to uncover the potentialities within this enthralling fusion of cultural narrative and cinematic genre. The ensuing chapters will unpack this journey, presenting 'Sister Drum' not just as a creative artefact but as a nexus of research and practice, a point of convergence where every design choice echoes the rich legacy of Chinese folklore and the haunting resonance of horror.