Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- Traditions in World Cinema
- Introduction
- 1 Charting the Course: Defining the Taiwanese Cinematic ‘Tradition’
- 2 Taiwanese–Italian Conjugations: The Fractured Storytelling of Edward Yang's The Terrorizers and Michelangelo Antonioni's Blow-Up
- 3 Mapping Hou Hsiao-hsien's Visuality: Setting, Silence and the Incongruence of Translation in Flight of the Red Balloon
- 4 Tsai Ming-liang's Disjointed Connectivity and Lonely Intertextuality
- 5 The Chinese/Hollywood Aesthetic of Ang Lee: ‘Westernized’, Capitalist … and Box Office Gold
- 6 Filming Disappearance or Renewal? The Ever-Changing Representations of Taipei in Contemporary Taiwanese Cinema
- Conclusion
- Bibliography
- Filmography
- Index
Conclusion
Published online by Cambridge University Press: 05 September 2014
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- Traditions in World Cinema
- Introduction
- 1 Charting the Course: Defining the Taiwanese Cinematic ‘Tradition’
- 2 Taiwanese–Italian Conjugations: The Fractured Storytelling of Edward Yang's The Terrorizers and Michelangelo Antonioni's Blow-Up
- 3 Mapping Hou Hsiao-hsien's Visuality: Setting, Silence and the Incongruence of Translation in Flight of the Red Balloon
- 4 Tsai Ming-liang's Disjointed Connectivity and Lonely Intertextuality
- 5 The Chinese/Hollywood Aesthetic of Ang Lee: ‘Westernized’, Capitalist … and Box Office Gold
- 6 Filming Disappearance or Renewal? The Ever-Changing Representations of Taipei in Contemporary Taiwanese Cinema
- Conclusion
- Bibliography
- Filmography
- Index
Summary
… New Taiwan Cinema's representation of modernity places the New in its historical past and eludes the present of what the New has become. The multiple identificatory positions, with their entangled histories and intricate negotiation between the personal and the collective in filmic narrative and narration, mark a defining feature of New Taiwan Cinema in its efforts to come to terms with those temporal conflicts and historical problems. (Guo-juin Hong, in Island of No Return, 71)
New Taiwan Cinema represents modernity by turning the present into history, all the while without becoming stale. In short, New Taiwan Cinema is timeless but, at the same time, speaks to the present; the best of this type of cinema is specific to the Taiwanese experience but retains a certain element of universality. If the defining feature of New Wave Cinema is its effort to break the silence of the past by aestheticising a collective experience, then the defining feature of Taiwan New Cinema, more generally, is its ability to reinvigorate a dying industry. Taiwan New Cinema is not defined by success or failure at the box office although it is constrained somewhat by time period. Before the 1980s, the rebellious discourse which was to define New Cinema existed in literary form only.
- Type
- Chapter
- Information
- New Taiwanese Cinema in FocusMoving Within and Beyond the Frame, pp. 165 - 169Publisher: Edinburgh University PressPrint publication year: 2014