Del i serien Traditions in World Cinema

New Taiwanese Cinema in Focus

Moving Within and Beyond the Frame

Häftad, Engelska, 2015

AvFlannery Wilson

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In the Taiwanese film industry, the dichotomy between ‘art-house’ and commercially viable films is heavily emphasized. However, since the democratization of the political landscape in Taiwan, Taiwanese cinema has become internationally fluid. As the case studies in this book demonstrate, filmmakers such as Hou Hsiao-hsien, Edward Yang, Tsai Ming-liang, and Ang Lee each engage with international audience expectations. New Taiwanese Cinema in Focus therefore presents the Taiwanese New Wave and Second Wave movements with an emphasis on intertextuality, citation and trans-cultural dialogue. Wilson argues that the cinema of Taiwan since the 1980s should be read emblematically; that is, as a representation of the greater paradox that exists in national and transnational cinema studies. She argues that these unlikely relationships create the need for a new way of thinking about ‘transnationalism’ altogether, making this an essential read for advanced students and scholars in both Film Studies and Asian Studies.

Produktinformation

Utgivningsdatum2015-05-29
Mått156 x 234 x 16 mm
Vikt320 g
FormatHäftad
SpråkEngelska
SerieTraditions in World Cinema
Antal sidor200
FörlagEdinburgh University Press
ISBN9781474405577

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Film inom Kultur

Flannery Wilson received her PhD in Comparative Literature from the University of California, Riverside in June 2011. She teaches French, Italian and film studies. Currently, she is teaching French at the University of Wisconsin, Stevens Point. Her research sheds light on the cross-cultural interactions between French and Italian and Chinese cinema(s). Her articles have appeared in Modern Chinese Literature and Culture, Senses of Cinema, and the Journal of Japanese and Korean Cinema.

Acknowledgements; Preface; Introduction; 1. Charting the Course: Defining the Taiwanese Cinematic ‘Tradition’; 2. Taiwanese-Italian Conjugations: The Fractured Story-Telling of Edward Yang’s The Terrorizers and Michelangelo Antonioni’s Blow Up; 3. Mapping Hou Hsiao-hsien’s Visuality: Setting, Silence, and the Incongruence of Translation in Flight of the Red Balloon; 4. Disjointed Connectivity and Lonely Intertextuality in Tsai Ming-liang’s What Time is it There?; 5. The Chinese/Hollywood Aesthetic of Ang Lee: ‘Westernized’, Capitalist…and Box Office Gold; 6. Filming Disappearance or Renewal? The Ever-Changing Representations of Taipei in Contemporary Taiwanese Cinema; Conclusion; Bibliography; Filmography; Notes; Index