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Island on the Edge: Taiwan New Cinema and After (Hardback)

Taiwan New Cinema and After

Chris Berry ,Feii Lu

Publication Year: 2005

The first English-language anthology on the Taiwan New Cinema and its legacy, this exciting collection covers all the major filmmakers from Hou Hsiao Hsien and Edward Yang to Tsai Mingliang and more.

Published by: Hong Kong University Press, HKU


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pp. vii-ix

Chris Berry is Professor of Film and Television Studies at Goldsmiths College, University of London. He has written widely on Chinese cinema, and is the translator ...

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pp. 1-12

Taiwan and its internationally renowned cinema are “on the edge” in more ways than one. As we outline in this introduction, for all its history the island has been on the edge of larger geopolitical entities, and subjected to invasions, migrations, incursions, and pressures. As one of the “Little Tiger” economies of...

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1 - The Terrorizer>/em> and the Great Divide in Contemporary Taiwan’s Cultural Development

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pp. 13-26

David Harvey identifies the late 1970s as an epoch-breaking moment when the condition of postmodernity assumed prominence, and a key factor was the extension of production to non-Western locations, including East Asia.1 Many scholars have since tacitly adopted the same analytical scheme, including...

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2 - Reflections on the Screen: Hou Hsiao Hsien’s Dust In the Wind and the Rhythms of the Taiwan New Cinema

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pp. 27-38

Hou Hsiao Hsien’s seventh feature film, Dust in the Wind (1986, Central Motion Picture Corporation), marks a crucial yet rarely acknowledged turning point in his career as one of the most influential and internationally acclaimed filmmakers to emerge from the Taiwan New Cinema of the 1980s. Although...

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3 - A Borrowed Life in Banana Paradise : De-Cold War/ Decolonization, or Modernity and Its Tears

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pp. 39-54

When this chapter was in its initial stages I was in Seoul, where I could not help being confronted by exceedingly emotional scenes of North-South family reunions..

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4 - Hou Hsiao Hsien’s City of Sadness: History and the Dialogic Female Voice

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pp. 55-66

A violent episode in the nation’s historical past, referred to as Ererba, or the 2–2–8 Incident, is the sequence in City of Sadness (1989) that viewers tend to remember the most. For reasons discussed in more detail ...

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5 - A Myth(ology) Mythologizing Its Own Closure: Edward Yang’s A Brighter Summer Day

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pp. 67-78

The international acclaim for Edward Yang’s latest movie, Yi Yi (or A One and a Two, 2000), has aroused a new wave of enthusiastic attention to his earlier films. Among them A Brighter Summer Day stands out because the two films share important similarities and form...

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6 - Hou Hsiao Hsien’s The Puppetmaster: The Poetics of Landscape

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pp. 79-88

The recent reception of Hou Hsiao Hsien’s City of Sadness as a political film has displaced critical attention from an investigation of the dominant aesthetic tendencies evident in the accumulating body of work by Taiwan’s premier director. This has complicated the problem of situating the distinctive...

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7 - Where Is the Love? Hyperbolic Realism and Indulgence in Vive L’Amour

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pp. 89-100

Despite its title, Taiwan filmmaker Tsai Mingliang’s Vive L’Amour, winner of the Golden Lion Award at the 1994 Venice International Film Festival, displays a marked absence of love.1 There are three isolated characters and an empty apartment in contemporary Taipei that they each use and where they sometimes...

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8 - Generational/ Cultural Contradiction and Global Incorporation: Ang Lee’s Eat Drink Man Woman

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pp. 101-112

Most existing literature on Ang Lee’s early works treats the films in isolation from the film industry and Lee’s career, focusing either on his presentation of inter-generational relationships in the Chinese family or the cultural significance of his depiction of the Chinese...

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9 - On Tsai Mingliang’s The River

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pp. 113-126

Although Asian (and specifically Chinese) males have been coded by a racist, Hollywood-dominated, and Orientalist cinema as “queer” — outside the norms of white heterosexuality — for more than a century, and Chinese films as early...

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10 - Compulsory Orientalism: Hou Hsiao Hsien’s Flowers of Shanghai

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pp. 127-136

This chapter situates Hou Hsiao Hsien’s Flowers of Shanghai (1998) within the continuing academic discussions about the “self-orientalizing” and “exoticizing” characteristics of certain Chinese...

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11 - Another Cinema: Darkness and Light

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pp. 137-148

In February 1987 about sixty Taiwan filmmakers and critics proclaimed the “Taiwan Cinema Manifesto,” criticizing the government’s film policy and the mainstream media’s negative attitude toward the Taiwan New Cinema. The manifesto reflected the difficult situation the Taiwan New Cinema was in and urged more...

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12 - The China Simulacrum: Genre, Feminism, and Pan-Chinese Cultural Politics in Crouching Tiger, Hidden Dragon

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pp. 149-160

In the light of its colossal worldwide critical and popular success, Ang Lee’s martial-arts romance Crouching Tiger, Hidden Dragon (2000) constitutes an unprecedented global cinematic and cultural event. The Mandarinlanguage film earned more than US$100 million at the US box-office, making it...

Appendix: Filmmakers and Films

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pp. 161-168


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pp. 169-190


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pp. 191-195

E-ISBN-13: 9789882201880
Print-ISBN-13: 9789622097155

Page Count: 208
Publication Year: 2005