| Description |
1 online resource (xii, 187 pages) : illustrations. |
| Physical Medium |
polychrome |
| Description |
text file |
| Series |
Traditions in World Cinema
|
|
Traditions in world cinema.
|
| Summary |
This book places Taiwanese cinema from the 1980s onwards in both national and transnational contexts. In the Taiwanese film industry, the dichotomy between arthouse and commercially viable films is heavily emphasized by both scholars and the local media. Ostensibly, this dichotomy stems from two separate desires on the part of filmmakers. Arthouse filmmakers in Taiwan are largely dependent on international distributors for funding, and, as a result, they aim to reach international audiences. On the other hand, mainstream commercial films in Taiwan tend to be produced without international export in mind. On a textual level, however, this dichotomy is not so clear-cut. Although the opposition between arthouse and commercial film may be very real in financial terms, in the context of the films themselves, the national and transnational (or inter-textual) aspects of Taiwanese cinema are not oppositional. These unlikely relationships create the need for a new way of thinking about transnationalism altogether. It provides a nuanced picture of the Taiwanese film industry since democratization and isolation from the Peoples Republic of China. It features close readings of the films of Tsai Ming-liang, Edward Yang, Hou Hsiaohsien, and others. It connects Taiwanese cinema to the global cinema landscape more generally. It refines the study of transnationalism by positing a new mode for viewing contemporary national cinema movements. |
| Bibliography |
Includes bibliographical references (pages 170-176), filmography (pages 177-178) and index. |
| Contents |
Introduction -- Charting the course: defining the Taiwanese cinematic 'tradition' -- Taiwanese-Italian conjugations: the fractured storytelling of Edward Yang's The Terrorizers and Michaelangelo Antonioni's Blow-Up -- Mapping Hou Hsiao-hsien's visuality: setting, silence and the incongruence of translation in Flight of the Red Balloon -- Tsai Ming-liang's disjointed connectivity and lonely intertexuality -- The Chinese/Hollywood aesthetic of Ang Lee: 'Westernized', capitalist...and box office gold -- Filming disappearance or renewal? The ever-changing representations of Taipei in contemporary Taiwanese cinema -- Conclusion. |
| Local Note |
eBooks on EBSCOhost EBSCO eBook Subscription Academic Collection - North America |
| Subject |
Motion pictures -- Taiwan -- History -- 20th century.
|
|
Motion pictures. |
|
Taiwan. |
|
History. |
| Chronological Term |
20th century |
| Subject |
Motion pictures -- Taiwan -- History -- 21st century.
|
| Chronological Term |
21st century |
|
1900-2099 |
| Genre/Form |
Electronic books.
|
|
History.
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| Other Form: |
Print version: Wilson, Flannery. New Taiwanese cinema in focus. Edinburgh : Edinburgh University Press 2014 9780748682010 (DLC) 2013481657 (OCoLC)867725095 |
| ISBN |
9780748682027 electronic book |
|
0748682023 electronic book |
|
9780748682010 (hardback) |
|
0748682015 (hardback) |
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9781306819794 (MyiLibrary) |
|
1306819792 (MyiLibrary) |
|
