Cinema Taiwan

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This is the first English-language anthology on the Taiwan New Cinema and its legacy. It is an exciting collection which covers all the major filmmakers from Hou Hsiao Hsien and Edward Yang to Ang Lee and more. The volume gatehrs a range of essays that analyze individual films produced since the advent of the Taiwan New Cinema in the early 1980s.Taiwan and its internationally renowned cinema are " on the edge" in more ways than one.

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"The Chinese Cinema Book" provides an essential guide to the cinemas of the People s Republic of China, Hong Kong, Taiwan and the Chinese diaspora, from early cinema to the present day. With contributions from leading international scholars, the book is s

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This is the first English-language anthology on the Taiwan New Cinema and its legacy. It is an exciting collection which covers all the major filmmakers from Hou Hsiao Hsien and Edward Yang to Ang Lee and more. The volume gatehrs a range of essays that

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New Chinese Cinemas analyzes the changing forms and significance of filmmaking in the People's Republic of China, Taiwan, and Hong Kong since the end of the Cultural Revolution, with a particular emphasis on how film comments on the profound social change

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In discussions of postcolonial nationhood and cultural identity, Taiwan is often overlooked. Yet the island-with its complex history of colonization-presents a particularly fascinating case of the struggle to define a "nation." While the mainland Chines

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Language: Original Soundtrack 原聲 / Subtitles: English, Traditional Chinese 繁體中文字幕 / Synopsis: In 1982, under severe martial law, amid the stormy climate of pre democratization, a small group of Taiwanese filmmakers set out on a daring journey to discover their own identity, and in the process to reinvent Asian cinema. Unintentionally, these gutsy youngsters managed to offset the cheap-labor image of 'Made in Taiwan' by bestowing a cultural identity on their beloved homeland.

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The first of its kind in English, this collection explores twenty one well established and lesser known female filmmakers from mainland China, Hong Kong, Taiwan, and the Chinese diaspora. Sixteen scholars illuminate these filmmakers' negotiations of lo

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For close to two hundred years, the ideas of Shakespeare have inspired incredible work in the literature, fiction, theater, and cinema of China, Taiwan, and Hong Kong. From the novels of Lao She and Lin Shu to Lu Xun's search for a Chinese "Shakespeare

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A groundbreaking study of Taiwan cinema, Hong provides helpful insight into how it is taught and studied by taking into account not only the auteurs of New Taiwan Cinema, but also the history of popular genre films before the 1980s. The book is essential

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Following the recent success of Taiwanese film directors, such as Hou Hsiao-hsien, Edward Yang, Ang Lee and Tsai Ming-liang, Taiwanese film is raising its profile in contemporary cinema. This collection presents an exciting and ambitious foray into the cultural politics of contemporary Taiwan film that goes beyond the auterist mode, the nation-state argument and vestiges of the New Cinema.

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Following the recent success of Taiwanese film directors, such as Hou Hsiao-hsien, Edward Yang, Ang Lee and Tsai Ming-liang, Taiwanese film is raising its profile in contemporary cinema. This collection presents an exciting and ambitious foray into the cultural politics of contemporary Taiwan film that goes beyond the auterist mode, the nation-state argument and vestiges of the New Cinema.

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Established by Martin Scorsese in 2007, the Film Foundation's World Cinema Project has maintained a passionate commitment to preserving and presenting masterpieces from around the globe, with a growing roster of more than two dozen restorations that have introduced moviegoers to often-overlooked areas of cinema history. This collector's set gathers six important works, from the Philippines (Insiang), Thailand (Mysterious Object at Noon), Soviet Kazakhstan (Revenge), Brazil (Limite), Turkey (Law of the Border), and Taiwan (Taipei Story).

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In the Taiwanese film industry, the dichotomy between 'art house' and commercially viable films is heavily emphasised. However, since the democratisation of the political landscape in Taiwan, Taiwanese cinema has become internationally fluid. As the case studies in this book demonstrate, film-makers such as Hou Hsiao-hsien, Edward Yang, Tsai Ming-liang and Ang Lee each engage with international audience expectations.

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How do East Asian cultural heritages shape film? How are these legacies being revived, or even re-created, by contemporary filmmakers? This collection examines the dynamic interactions between East Asian cultural heritages - "traditional" elements including martial arts, music, landscape, aesthetics, stage performances, and legends - and cinemas in mainland China, Hong Kong, Taiwan, Japan, and South Korea.

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Sinophone Cinemas considers a range of multilingual, multidialect and multi-accented cinemas produced in Chinese-language locations outside mainland China. It showcases new screen cultures from Britain, Hong Kong, Taiwan, Singapore and Australia.

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In the Taiwanese film industry, the dichotomy between 'art house' and commercially viable films is heavily emphasised. However, since the democratisation of the political landscape in Taiwan, Taiwanese cinema has become internationally fluid. As the case studies in this book demonstrate, film-makers such as Hou Hsiao-hsien, Edward Yang, Tsai Ming-liang and Ang Lee each engage with international audience expectations.

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This book is an original volume of essays that sheds new and critical light on current and emerging filmmaking trends and practices in China, Taiwan, Hong Kong, Japan and South Korea.A timely and important contribution to existing scholarship in the field

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East Asian Cinema and Cultural Heritage

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Drawing on a variety of film semiotic theories, this book sheds light on works by four generations of mainland Chinese directors, Hong Kong New Wave directors, Taiwan New Cinema directors, and overseas Chinese directors. The cultural and historical implications of exile are examined through the detailed analysis of film language and theoretical exploration balanced by insightful close reading.

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Despite differences in the political, social, and economic systems of Taiwan and mainland China, the process of modernization in both has challenged traditional cultural norms. Tonglin Lu examines how differences in cultural formation between Taiwan and C

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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 (Bollywood), and West Asia (Iran), in order to discover what is common about them and to engender a theory or concept of "Asian Cinema." It goes beyond existing work which provides a field survey of Asian cinema, probing more deeply into the field of Asian Cinema, arguing that Asian Cinema constitutes a separate pedagogical subject, and putting forward an alternative cinematic paradigm.

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