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Full Description
Taiwan New Cinema (first wave, 1982 1989; second wave, 1990 onward) has a unique history regarding film festivals, particularly in the way these films are circulated at major European film festivals. It shares a common formalist concern about cinematic modernism with its Western counterparts, departing from previous modes of filmmaking that were preoccupied with nostalgically romanticizing China's image.
Through utilising in-depth case studies of films by Taiwan-based directors: Tsai Ming-liang, Zhao Deyin and Hou Hsiao-hsien, Tsai discusses how Taiwan New Cinema represents a struggling configuration of the 'nation', brought forth by Taiwan's multilayered colonial and postcolonial histories. Taiwan New Cinema at Film Festivals presents the conditions that have led to the production of a national cinema, branding the auteur, and examines shifting representations of cultural identity in the context of globalization.
Contents
List of Illustrations
Acknowledgements
INTRODUCTION
PART I. HISTORICIZING TAIWAN NEW CINEMA
1. The Rise of Taiwan New Cinema and the Festival Strategy
2. Women Critics and Building the Auteur
PART II. FILMMAKERS IN FOCUS
3. Going East: Women Walk the City in Hou Hsiao-hsien's Le voyage du ballon rouge (2007) and Café Lumière (2003)
4. Going West: Tsai Ming-liang at the Louvre and Cinema in the Gallery
5. A Southbound Turn: Dreaming Taiwan in Midi Z's Realist Films
6. To the Future: Film Festivals as Producers and Sleeping in the Cinema
Postscript: An American Girl in Taiwan
Bibliography
