China Bans Ghost and Zombie Films: The Shock Behind the Silencing of Macabre Cinema

In a sweeping cultural crackdown revealing deep-seated concerns over public morality and ideological control, China has abruptly banned all ghost-themed and zombie movies, citing “social instability risks” and “distortion of traditional values.” The directive, announced in early 2024, marks a dramatic shift in the country’s approach to genre fiction, particularly in horror and supernatural narratives that have long occupied a unique space in global cinema. While ghost stories and zombie tales have thrived worldwide—from Hollywood blockbusters to Japanese horror films—Beijing now views them as dangerous cultural influences that challenge social order and propagate superstition. The ban, ostensibly driven by the State Administration of Press, Publication, Radio, Film, and Television (SAPPRFT), targets productions that depict death, the afterlife, or apocalyptic scenarios.

Several high-profile films—including imported American horror series with ghost motifs and localized Chinese zombie films exploring mortality and societal collapse—have been placed under immediate suspension. Officials have emphasized that the decision responds not to artistic merit but to fears that such content fosters “unscientific beliefs” and undermines state-promoted narratives of harmony and progress.

What began as a subtle regulatory warning evolved into a full-scale prohibition.

Officials inspected over 200 existing scripts, storyboards, and completed works across film studios, flagging those with supernatural themes as incompatible with current cultural policy. “These films propagate fear of death and the unknown—values that conflict with our vision of a socially stable, health-conscious society,” stated a SASPRFT spokesperson in a rare public statement. The move echoes broader efforts to centralize narrative control, following recent restrictions on sci-fi and fantasy genres deemed “alien” or “divisive.”

Reactions from filmmakers and creative communities have been unanimously critical.

“Cinema reflects society, and ghost stories have long served as metaphors for trauma, loss, and collective memory,” said Wang Xue, a Beijing-based director whose 2019 zombie-inflected indie film was among those suspended. “Now’s the time to confront difficult truths—not suppress them behind moralistic bans.” The ban targets more than censorship; it reflects an escalating effort to define the emotional and ideological boundaries of acceptable public discourse.

Interestingly, the restriction focuses primarily on narrative content rather than production techniques.

Films with historically grounded supernatural elements—such as regional legends involving ancestral spirits—remain largely untouched, suggesting the rationale is ideological rather than aesthetic. Still, distributors report widespread self-censorship, with studios preemptively eliminating supernatural tropes to avoid penalties. As one producer explained, “We’re rewriting scripts not to fear policing, but to protect our teams from unforeseen sanctions.”

Behind the ban lies deeper anxieties about China’s rapidly evolving cultural landscape.

Urbanization, digital media saturation, and exposure to global horror content have reshaped younger audiences’ relationship with fear and mortality. While traditional Chinese ghost stories and zombie mythology have cultural roots—often tied to Buddhist concepts of karma and impermanence—official censorship frames modern supernatural narratives as Western-influenced distractions threatening social cohesion. “Myths evolve,” noted cultural analyst Liu Ming.

“But when they carry messages antithetical to state ideals—fear, nowanche, moral ambiguity—authorities intervene firmly.”

Importantly, enforcement remains partial. Independent filmmakers and underground horror projects, limited but persistent, continue to explore the supernatural in coded forms. Online platforms report a surge in pirated or independently released ghost tales, illustrating both the public’s appetite for such stories and the resilience of cultural expression under pressure.

The government, however, shows no signs of reversal, framing the ban as part of a wider campaign to “rectify cultural values” in tandem with technological and ideological change.

This ban underscores a pivotal moment: as China navigates the tension between tradition, modernity, and creative freedom, ghost and zombie films have become unexpected battlegrounds. No longer seen merely as entertainment, these genres are now symbolic markers of ideological control.

The shutdown marks a definitive turning point—where cultural policy shapes not just what films are made, but what ideas dare to circulate in China’s cinematic landscape. What begins as a protests over spooks and skeletons reveals a deeper struggle over how society chooses to confront its fears—and its past.