Abstract
While acknowledging that the horror film is generally not considered a major part of the ‘Singapore new wave’, this article makes the case that Singapore horror films nevertheless merit closer critical evaluation not only because of their sustained output in a very small industry, but also because of their articulation of a range of issues germane to Singapore nationhood and identity – issues which obtain in other Singapore films as well. The discussion surveys the entirety of the Singapore horror output from the 1990s onwards and draws out a number of key distinctive themes and trends, such as the referencing of Chinese supernatural beliefs and regional Southeast Asian spirits, and also the distinctive preponderance of horror narratives involving military or police. The films are then read in relation to broad tropes of gender, geography and regulation.
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