New Taiwanese cinema in focus: moving within and beyond the frame
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Edinburgh
Edinburgh University Press
[2014]
|
| Schriftenreihe: | Traditions in world cinema
|
| Schlagworte: | |
| Online-Zugang: | FAW01 FAW02 |
| Beschreibung: | Print version record |
| Beschreibung: | 1 online resource (xii, 187 pages) illustrations |
| ISBN: | 9780748682027 0748682023 9780748682010 0748682015 9781306819794 1306819792 |
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| 505 | 8 | |a 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 | |
| 505 | 8 | |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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| contents | 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 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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| dewey-full | 791 791.430951249 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791 791.430951249 |
| dewey-search | 791 791.430951249 |
| dewey-sort | 3791 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| era | 1900 - 2099 fast Geschichte 1900-2000 Geschichte 1983-2011 gnd |
| era_facet | 1900 - 2099 Geschichte 1900-2000 Geschichte 1983-2011 |
| format | Electronic eBook |
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| spelling | Wilson, Flannery Verfasser aut New Taiwanese cinema in focus moving within and beyond the frame Flannery Wilson Edinburgh Edinburgh University Press [2014] © 2014 1 online resource (xii, 187 pages) illustrations txt rdacontent c rdamedia cr rdacarrier Traditions in world cinema Print version record 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 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 1900 - 2099 fast Geschichte 1900-2000 Geschichte 1983-2011 gnd rswk-swf Motion pictures PERFORMING ARTS / Reference bisacsh Motion pictures fast Film gnd PERFORMING ARTS / Film & Video / General bisacsh Film Geschichte Motion pictures Taiwan History 20th century Motion pictures Taiwan History 21st century Film (DE-588)4017102-4 gnd rswk-swf Taiwan (DE-588)4017875-4 gnd rswk-swf Taiwan (DE-588)4017875-4 g Film (DE-588)4017102-4 s Geschichte 1983-2011 z 1\p DE-604 Erscheint auch als Druck-Ausgabe Wilson, Flannery New Taiwanese cinema in focus 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Wilson, Flannery New Taiwanese cinema in focus moving within and beyond the frame 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 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 Motion pictures PERFORMING ARTS / Reference bisacsh Motion pictures fast Film gnd PERFORMING ARTS / Film & Video / General bisacsh Film Geschichte Motion pictures Taiwan History 20th century Motion pictures Taiwan History 21st century Film (DE-588)4017102-4 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4017875-4 |
| title | New Taiwanese cinema in focus moving within and beyond the frame |
| title_auth | New Taiwanese cinema in focus moving within and beyond the frame |
| title_exact_search | New Taiwanese cinema in focus moving within and beyond the frame |
| title_full | New Taiwanese cinema in focus moving within and beyond the frame Flannery Wilson |
| title_fullStr | New Taiwanese cinema in focus moving within and beyond the frame Flannery Wilson |
| title_full_unstemmed | New Taiwanese cinema in focus moving within and beyond the frame Flannery Wilson |
| title_short | New Taiwanese cinema in focus |
| title_sort | new taiwanese cinema in focus moving within and beyond the frame |
| title_sub | moving within and beyond the frame |
| topic | Motion pictures PERFORMING ARTS / Reference bisacsh Motion pictures fast Film gnd PERFORMING ARTS / Film & Video / General bisacsh Film Geschichte Motion pictures Taiwan History 20th century Motion pictures Taiwan History 21st century Film (DE-588)4017102-4 gnd |
| topic_facet | Motion pictures PERFORMING ARTS / Reference Film PERFORMING ARTS / Film & Video / General Geschichte Motion pictures Taiwan History 20th century Motion pictures Taiwan History 21st century Taiwan |
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