Cinema, Identity and Resistance in Taiwan: Hou HsiaoHsiens A City of Sadness - PowerPoint PPT Presentation

Loading...

PPT – Cinema, Identity and Resistance in Taiwan: Hou HsiaoHsiens A City of Sadness PowerPoint presentation | free to view - id: 31a23-NGM5Z



Loading


The Adobe Flash plugin is needed to view this content

Get the plugin now

View by Category
About This Presentation
Title:

Cinema, Identity and Resistance in Taiwan: Hou HsiaoHsiens A City of Sadness

Description:

The questions of both film as language and language(s) in film must be ... che, 1983), Taipei Mythology (taipei shenhua, 1985), The Outsiders (niezi, 1986) ... – PowerPoint PPT presentation

Number of Views:134
Avg rating:3.0/5.0
Slides: 14
Provided by: ext54
Category:

less

Write a Comment
User Comments (0)
Transcript and Presenter's Notes

Title: Cinema, Identity and Resistance in Taiwan: Hou HsiaoHsiens A City of Sadness


1
Cinema, Identity and Resistance in Taiwan Hou
Hsiao-Hsiens A City of Sadness
Centre for World Cinemas
  • Dr Ming-Yeh T. Rawnsley
  • Institute of Communications Studies
  • University of Leeds
  • 6 February 2008

2
Centre for World Cinemas
  • The questions of both film as language and
    language(s) in film must be reviewed more
    carefully.
  • Sheldon H. Lu and Emilie Yueh-yu Yeh,
  • Chinese-Language Film (University of Hawaii
    Press, 2005), p.2.

3
Centre for World Cinemas
  • Tsai Ming-liang
  • Filmmaker in Taiwan received 35 film awards 13
    nominations
  • Selected films
  • I Dont Want to Sleep Alone (hei yanquan, 2006)
  • The Wayward Cloud (tianbian yiduo yun, 2005)
  • Good Bye, Dragon Inn (bu san, 2003)
  • What Time Is It Over There? (ni nabian jidian?
    2001)
  • The Hole (dong, 1998)
  • The River (heliu, 1997)
  • Photograph by Ming-Yeh Rawnsley, November 2007

4
Centre for World Cinemas
  • Nationalist party Kuomintang KMT (guomindang)
  • Healthy Realism (jiankang xieshi)
  • Regional languages in Taiwan Taiwanese, Hakka,
    aboriginal languages
  • The Sandwich Man (erzi de da wanou, 1983)
  • The Government Information Office (GIO)
  • The Boys of Fenggui (fenggui laide ren,
    1983/1984)

5
(No Transcript)
6
Centre for World Cinemas
  • A City of Sadness (beiqing chengshi, 1989)
  • How A City of Sadness represented history?
  • How are languages used in the film?
  • Taiwan New Cinema
  • Post-Taiwan New Cinema

7
Centre for World Cinemas
  • Brief History of Taiwan
  • Immigrants from Mainland China in the 17th
    Century
  • A Japanese colony, 18951945
  • Returned to the Republic of China in 1945
  • 228 Incident of 1947, martial law was proclaimed
  • KMT moved to Taiwan in 1949
  • White Terror, 1950s
  • Rapid economic development in the 1960s and the
    1970s
  • Democratization in the 1980s
  • Martial law was lifted in 1987
  • First direct presidential election in 1996

8
Centre for World Cinemas
  • I have lived in Taiwan for over forty years
    but it was only when I made A City of Sadness
    that I began to learn about Taiwans history. In
    preparation for the film, I read a lot of books
    on Taiwans history. It was only then that I
    consciously wanted to delve further into this
    area. Making a movie is a process of learning
    about history, people and life itself.
  • Hou Hsiao-Hsien
  • (Mark Harrison, Cinema and National Memory, CSD
    Bulletin, winter 20045, p.13)

9
Centre for World Cinemas
  • Major characters of the film
  • Eldest son Lin Wen-heung
  • Second son Lin Wen-sun
  • Third son Lin Wen-leung
  • Fourth son Lin Wen-ching
  • Narrator Hinomi (Kuang-mi)
  • Hinomis brother Hinoe (Kuang-yeng)

10
Centre for World Cinemas
  • Rather than simply looking away, the film
    evokes a sense of place, and it is this sense
    which functions as a witness to violence and
    suffering. In a sense of place is the remembrance
    of history, and with it the capacity to judge and
    forgive In this way, the film invokes place as a
    witness to history, and this gives the film a
    moral strength.
  • Mark Harrison, Cinema and National Memory
  • CSD Bulletin, winter 20045, p.14

11
Centre for World Cinemas
  • Taiwan New Cinema
  • In Our Time (guangyin de gushi, 1982, Edward
    Yang, Tao De-chen, Ke Yi-zheng, Zhang Yi)
  • Representative Directors
  • Hou Hsiao-Hsien Boys of Fenggui (fenggui laide
    ren, 1983/1984), A Time to Live, A Time to Die
    (tongnian wangshi, 1985), Dust in the Wind
    (lianlian fengchen, 1986)
  • Edward Yang (Yang De-chang) That Day on the
    Beach (haitan de yitian, 1983), The Terrorizers
    (kongbu fenzi, 1986)
  • Yu Kan-ping Take a Wrong Car (da cuo che, 1983),
    Taipei Mythology (taipei shenhua, 1985), The
    Outsiders (niezi, 1986)
  • Wang Tong A Flower in the Raining Night (kanhai
    de rizi, 1983), The Strawman (daocao ren, 1987)

12
Centre for World Cinemas
  • The Taiwan New Cinema filmmakers believed in
    an actively engaged audience rather than a
    passive one. They abandoned the simplistic
    black-and-white storytelling methods of the past
    in favor of a more subtle and complex mode that
    was closer to real life experience As the
    dramatic plots faded away in the Taiwan New
    Cinema, so did the audience, and with them the
    producers and investors, pushing the film
    movement to the edge of financial non-viability.
  • Chris Berry and Feii Lu (eds), Island on the
    Edge
  • (Hong Kong HK University Press, 2005), p.6

13
Centre for World Cinemas
  • Post-Taiwan New Cinema (selected directors)
  • Tsai Ming-liang Rebels of the Neon God
    (qingshaonian nazha, 1992), Vive lAmour (aiqing
    wansui, 1994), etc.
  • Wu Nian-zhen A Borrowed Life (duo san, 1994),
    Buddha Blessed America (taiping tianguo, 1996)
  • Ang Lee Pushing Hand (tui shou, 1991), Wedding
    Banquet (xiyan, 1993), Eat, Drink, Man, Woman
    (yinshi nannü, 1994)
  • Lin Zheng-sheng A Drifting Life (chunhua menglu,
    1996), Murmur of Youth (meili zai changge, 1997),
    Sweet Degeneration (fanglang, 1998), March of
    Happiness (tianma chafang, 1999)
  • Chen Yu-xun Tropical Fish (redai yu, 1995), Love
    Go Go (aiqing laile, 1997)
About PowerShow.com