Taiwan is a peculiar place resulting in a peculiar cinema, with Hou Hsiao-hsien being its most remarkable product. Hou’s signature long and static shots almost invite critics to give auteurist reading
***Listed in THE CHRONICLE OF HIGHER EDUCATION's Weekly Book List, April 4, 2011***Interview with the author: http://dgeneratefilms.com/critical-essays/cinematalk-a-conversation-with-professor-guo-jui
The Historical Dictionary of Taiwan Cinema covers the history of Taiwan cinema during both the Japanese colonial period (1895–1945) and Chinese Nationalist period (1945–present). This is accomplished
***Listed in THE CHRONICLE OF HIGHER EDUCATION's Weekly Book List, April 4, 2011***Interview with the author: http://dgeneratefilms.com/critical-essays/cinematalk-a-conversation-with-professor-guo-jui
This book investigates the aesthetics and politics of Post/Taiwan-New-Cinema by examining fifteen movies by six directors and frequent award winners in international film festivals. The book considers
This book explores the range and dynamism of contemporary Asian cinemas, covering East Asia (China, Japan, South Korea, Hong Kong, Taiwan), Southeast Asia (Thailand, Singapore, Malaysia), South Asia (
The book examines recent developments in Taiwan cinema, with partiuclar focus on a leading contemporary Taiwan filmmaker, Wei Te-sheng, who is responsible for such Asian blockbusters as Cape No.7, War
Why has Taiwanese film been so appealing to film directors, critics, and audiences across the world? This book argues that because Taiwan is a nation without hard political and economic power, cinema becomes a form of soft power tool that Taiwan uses to attract global attention, to gainsupport, and to build allies. Author Song Hwee Lim shows how this goal has been achieved by Taiwanese directors whose films win the hearts and minds of foreign audiences to make Taiwan a major force in world cinema. The book maps Taiwan's cinematic output in the twenty-first century through the three keywords in the book's subtitle-authorship, transnationality, historiography. Its object of analysis is the legacy of Taiwan New Cinema, a movement that begun in the early 1980s that has had a lasting impact uponfilmmakers and cinephiles worldwide for nearly forty years. By examining case studies that include Hou Hsiao-hsien, Ang Lee, and Tsai Ming-liang, this book suggests that authorship is central to Taiw
This book uses the potent case study of contemporary Taiwanese queer romance films to address the question of how capitalism in Taiwan has privileged the film industry at the expense of the audience's
