Revisits Taiwan New Cinema in relation to film festivals from cultural, historical, and geopolitical standpoints.
Taiwan New Cinema (first wave, 19821989; second wave, 1990 onward) has a unique history regarding film festivals, particularly in the way these films are circulated at major European film festivals. It shares a common formalist concern about cinematic modernism with its Western counterparts, departing from previous modes of filmmaking that were preoccupied with nostalgically romanticizing China's image.
Through utilising in-depth case studies of films by Taiwan-based directors: Tsai Ming-liang, Zhao Deyin and Hou Hsiao-hsien, Tsai discusses how Taiwan New Cinema represents a struggling configuration of the 'nation', brought forth by Taiwan's multilayered colonial and postcolonial histories. Taiwan New Cinema at Film Festivals presents the conditions that have led to the production of a national cinema, branding the auteur, and examines shifting representations of cultural identity in the context of globalization.
Outstripping auteur-centred accounts of the Taiwan New Cinema, Tsai forges an illuminating new perspective by reconstructing the economic, discursive, and migratory conditions that shaped this movement. This book is vital reading for those interested in Taiwan New Cinema and its afterlives, and in the transnational imaginary of contemporary art cinema.--Jean Ma, Stanford University
Taiwan New Cinema at Film Festivals is a delight! It marks out a beguiling path connecting Taiwan New Cinema, advocate criticism, and film festivals into a unique fabric of contemporary film culture. Tsai's adroit storytelling is original and provocative.--Emilie Yueh-yu Yeh, Lingnan University, Hong Kong
Beth Tsai is Visiting Assistant Professor in East Asian Languages and Cultural Studies at the University of California, Santa Barbara. Her research focuses primarily on the cinema of Taiwan, film festivals, and transnational film theory. She has published in the International Journal of Asia Pacific Studies, Quarterly Review of Film and Video, Journal of Asian Cinema, and Oxford Bibliographies.
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