Taiwan Cinema, Memory, and Modernity
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Beschreibung
This book investigates the aesthetics and politics of Post/Taiwan-New-Cinema by examining fifteen movies by six directors and frequent award winners in international film festivals. The book considers the works of such prominent directors as Edward Yang, Tsai Ming-liang and Chang Tsuo-chi and their influence on Asian films, as well as emergent phenomenal directors such as Wei Te-sheng, Zero Chou, and Chung Mong-hong. It also explores the possibility of transnational and trans-local social sphere in the interstices of layered colonial legacies, nation-state domination, and global capitalism. Considering Taiwan cinema in the wake of globalization, it analyses how these films represent the socio-political transition among multiple colonial legacies, global capitalism, and the changing cross-strait relation between Taiwan and the Mainland China. The book discusses how these films represent nomadic urban middle class, displaced transnational migrant workers, roaming children and young gangsters, and explores how the continuity/disjuncture of globalization has not only carved into historical and personal memories and individual bodies, but also influenced the transnational production modes and marketing strategies of cinema.
This book investigates the aesthetics and politics of Post/Taiwan-New-Cinema by examining fifteen movies by six directors and frequent award winners in international film festivals. The book considers the works of such prominent directors as Edward Yang, Tsai Ming-liang and Chang Tsuo-chi and their influence on Asian films, as well as emergent phenomenal directors such as Wei Te-sheng, Zero Chou, and Chung Mong-hong. It also explores the possibility of transnational and trans-local social sphere in the interstices of layered colonial legacies, nation-state domination, and global capitalism. Considering Taiwan cinema in the wake of globalization, it analyses how these films represent the socio-political transition among multiple colonial legacies, global capitalism, and the changing cross-strait relation between Taiwan and the Mainland China. The book discusses how these films represent nomadic urban middle class, displaced transnational migrant workers, roaming children and younggangsters, and explores how the continuity/disjuncture of globalization has not only carved into historical and personal memories and individual bodies, but also influenced the transnational production modes and marketing strategies of cinema.
Examines contemporary Taiwanese cinema and its place within both Asia and the wider film making world Analyses how these films represent the socio-political transition in the changing cross-strait relation between Taiwan and Mainland China Discusses how these films represent nomadic unban middle class, displaced transnational migrant workers, perplexed sexual dissidents in anticipating a transnational social sphere connecting Taiwan, Asia, and global Chinese communities
Autor*in
Ivy I-chu Chang
Themen in »Taiwan Cinema, Memory, and Modernity«
Taiwan Cinema and China Taiwanese Films and Modernity Globalization and Asian Films Queer Culture in Taiwanese Cinema Chang Tso-chi Edward Young Postmodern Culture in Taiwan Cinema Tsai Ming-liang Memory and Modernity in Asian Cinema
Stimmen zu »Taiwan Cinema, Memory, and Modernity«
“The book is a crucial and very welcome examination of a film industry … . the main strengths of this book is the author’s ability to amalgamate the complex deconstruction of film style, paying close attention to cinematography, composition, editing, and narrative, with that of the wider geopolitical complexities of Taiwan’s hybrid cultural landscape.” (Mary J. Ainslie, International Journal of Taiwan Studies, Vol. 4 (2), 2021)
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