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|a Wilson, Flannery,
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|a New Taiwanese cinema in focus :
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|c Flannery Wilson.
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|a Edinburgh :
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|a Traditions in World Cinema
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|a Includes bibliographical references (pages 170-176), filmography (p. 177-178) and index.
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|a 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.
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|a In the Taiwanese film industry, the dichotomy between 'art-house' and commercially viable films is heavily emphasized. However, since the democratization of the political landscape in Taiwan, Taiwanese cinema has become internationally fluid. As the case studies in this book demonstrate, filmmakers such as Hou Hsiao-hsien, Edward Yang, Tsai Ming-liang, and Ang Lee each engage with international audience expectations. New Taiwanese Cinema in Focus therefore presents the Taiwanese New Wave and Second Wave movements with an emphasis on intertextuality, citation and trans-cultural dialogue. Wilson argues that the cinema of Taiwan since the 1980s should be read emblematically; that is, as a representation of the greater paradox that exists in national and transnational cinema studies. She argues that these unlikely relationships create the need for a new way of thinking about 'transnationalism' altogether, making this an essential read for advanced students and scholars in both Film Studies and Asian Studies.
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|a Motion pictures
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|i has work:
|a New Taiwanese cinema in focus (Text)
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|a Wilson, Flannery.
|t New Taiwanese cinema in focus.
|d Edinburgh : Edinburgh University Press 2014
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