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Thirty-two New Takes on Taiwan Cinema
Emilie Yueh-yu Yeh, Darrell William Davis, Wenchi Lin, Editors
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Thirty-two New Takes on Taiwan Cinema covers thirty-two films from Taiwan, addressing a flowering of new talent, moving from art film to genre pictures, and nonfiction. Beyond the conventional framework of privileging "New and Post-New Cinema," or prominence of auteurs or single films, this volume is a comprehensive, judicious take on Taiwan cinema that fills gaps in the literature, offers a renewed historiography, and introduces new creative force and voices of Taiwan's moving image culture to produce a leading and accessible work on Taiwan film and culture.
Film-by-film is conceived as the main carrier of moving picture imagery for a majority of viewers, across the world. The curation offers an array of formal, historical, genre, sexual, social, and political frames, which provide a rich brew of contexts. This surfeit of meanings is carried by individual films, one by one, which breaks down abstractions into narrative bites and outsized emotions.
Cover
Title Page
Copyright Page
Contents
Acknowledgments
A Note on Transliteration and Translation
1. Curating Taiwan Cinema in the Twenty-first Century
2. Our Neighbors (1963)
3. The Best Secret Agent (1964)
4. The Bride Who Has Returned from Hell (1965)
5. Hsi Shih: The Beauty of Beauties (1965)
6. Dangerous Youth (1969)
7. Home, Sweet Home (1970)
8. The Young Ones (1973)
9. Victory (1976)
10. Legend of the Mountain (1979)
11. Kuei-mei, a Woman (1985)
12. Taipei Story (1985)
13. Daughter of the Nile (1987)
14. Strawman (1987)
15. A Brighter Summer Day (1991)
16. Super Citizen Ko (1994)
17. Goodbye South, Goodbye (1996)
18. Buddha Bless America (1996)
19. Tonight Nobody Goes Home (1996)
20. Boys for Beauty (1999)
21. Three Times (2005)
22. God Man Dog (2007)
23. Cape No. 7 (2008)
24. Drifting Flowers (2008)
25. Visage (2009)
26. Monga (2010)
27. Beyond Beauty: Taiwan from Above (2013)
28. Godspeed (2016)
29. True Emotion behind the Wall (2017)
30. The Bold, the Corrupt, and the Beautiful (2017)
Figure 10.1. Legend of the Mountain (dir. King Hu) operates in a liminal space between travelogue/road film, thriller, ghost story, wuxia, and even comedy.
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