The many examples of organ transplant as a narrative device in Chinese and English-language cinemas since 2000 indicate deeper anxieties not only about the permeability of boundaries between self and other in contemporary life, but about class and the economics of organ transplant and other new medical interventions more globally. Reading against examples of organ transplant cinema from the U.S. and Europe, this talk interprets Danny and Oxide Pang’s 2002 film The Eye, a horror film about a blind woman who receives a corneal transplant from a woman who suffers from frightening visions, as a symbolic representation of millennial fears about the interpenetration of class and corporeality in transnational economies at the turn of the 21st century.

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