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The Sinophone Cinema of Hou Hsiao hsien Culture Style Voice and Motion

Author: Christopher Lupke
Publisher: Cambria Press
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"Featuring rare interviews and sophisticated analysis, this book sheds light on Hou's narrative innovations and aesthetic triumphs while, along the way, unlocking some of the mysteries lurking behind one of the greatest bodies of cinematic work ever produced." -MICHAEL BERRY, University of California Santa Barbara "Lupke's book provides comprehensive coverage, detailed contextualization, and insightful analysis from Hou's earliest works to his most recent accomplishment. The narrative is particularly compelling because it weaves cultural and social contexts and filmic texts together, and it brings various formal elements (image, editing, language, music) to bear upon one another. The book also includes careful comparison with another East Asian auteur Ozu Yasujirô. The Sinophone Cinema of Hou Hsiao-hsien is a significant addition." -GUO-JUIN, HONG, Duke University "Lupke's comprehensive and original study excavates the literary inspirations of Hou's filmmaking, showing how Wu Nianzhen, Shen Congwen, and especially Zhu Tianwen shape his philosophy and aesthetic. In Lupke's convincing account, the anti-filial behaviors of their characters, which have attracted little critical attention, are the key to understanding their shared concern for the visible dissolution of the family in the modern world. In addition to its lucid analysis, this book contextualizes the filmmaking history of Hou in ways that illustrate the cultural and political significance of studying Taiwan Cinema in a global context." -HSIU-CHUANG DEPPMAN, Oberlin College "Serving both as an excellent comprehensive introduction to the filmmaker and as a series of in-depth readings, this informative, engaging, and insightful book covers the full range of Hou's work. Writing clearly and elegantly, Lupke perceptively relates Hou's films to both literary and cinematic antecedents. Aside from Hou's well-known connection to Taiwan's 'native soil' literature, Lupke highlights as well the filmmaker's debt to earlier mainland Chinese authors such as Shen Congwen, Zhang Ailing, and Hu Lancheng. Hou's singular contribution to film aesthetics, summarized as 'stasis within motion,' comes through vividly and convincingly." -JASON MCGRATH, University of Minnesota *This book includes images.


The Assassin

Author: Peng Hsiao-yen
Publisher: Hong Kong University Press
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The Assassin tells the story of a swordswoman who refrains from killing. Hou Hsiao-hsien astonishes his audience once again by upsetting almost every convention of the wuxia (martial arts) genre in the film. This collection offers eleven readings, each as original and thought-provoking as the film itself, beginning with one given by the director himself. Contributors analyze the elliptical way of storytelling, Hou’s adaptation of the source text (a tale from the Tang dynasty, also included in this volume), the film’s appropriation of traditional Chinese visual aesthetics, as well as the concept of xia (knight-errant) that is embedded in Confucian, Daoist, and Buddhist worldviews. There are also discussions of the much-celebrated sonic design of The Assassin: the nearly exclusive use of a diegetic film score is a statement on the director’s belief in cinematic reality. Underlying all the chapters is a focus on how Hou reinvents Tang-dynasty China in contemporary culture. The meticulously recreated everyday reality of the Tang world in the film highlights the ethnic and cultural diversity of the dynasty. It was a time when Sogdian traders acted as important intermediaries between Central Asia and the Tang court, and as a result Sogdian culture permeated the society. Taking note of the vibrant hybridity of Tang culture in the film, this volume shows that the historical openness to non-Chinese elements is in fact an essential part of the Chineseness expressed in Hou’s work. The Assassin is a gateway to the remote Tang-dynasty world, but in Hou’s hands the concerns of that premodern world turn out to be highly relevant to the world of the audience. “This book promises to be a useful companion to the film The Assassin. Contributors to this collection have convincingly and compellingly elucidated some of the film’s most difficult features. The result is a rich and wide-ranging analysis of one of the most beautiful films of our time.” —Sung-Sheng Yvonne Chang, The University of Texas at Austin “This collection of essays unfolds the many layers of The Assassin by speaking to its aesthetic achievements, reinvention of genre conventions, deep historical engagement, and philosophical substance. It exceeds the sum of its individual parts by building a vibrant cross-disciplinary conversation among a diverse group of accomplished scholars, who contribute original and compelling insights on the film.” —Jean Ma, Stanford University


Borders and Trajectories Remapping Cities in Hou Hsiao hsien s Films

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Taiwan director Hou Hsiao-hsien (1947–present) is widely recognized as one of the foundations of the New Wave of Taiwan film. Melding both cultural analysis and urban theory, this article explores how cities are represented by the vision of border in Hou Hsiao-hsien's films All the Youthful Days (Hou, 1983), Dust in the Windy (Hou, 1986), Millennium Mambo (Hou, 2000) and A Time for Youth (Hou, 2005). These films draw a spatial topography that maps Taiwan's history of urbanization and globalization. In the cinematic representation of space, the border is both the geographical space of the rural transforming to the urban and the cultural space of traditional lifestyles transforming to modernity or postmodernity. Hou Hsiao-hsien describes and represents the city from the vision of a 'rural observer' who creates an outsiders' city map. Following Raymond Williams' theory of the country and the city, the article then approaches Hou Hsiao-hsien's film works in dialogue with a range of other theorists (Georg Simmel, Barbara Mennel, Fredric Jameson, Micheal de Certeau, Jacques Derrida, Edward Relph, Walter Benjamin, Wolfgang Schivelbusch). Hou's border worlds enable him to explore change, confusion, alienation and loss. In this way, each of his films can be seen as a microcosm of the changing world in which the rural and the urban open to and interact with each other.


History and Memory in Hou Hsiao Hsien s a City of Sadness and Tian Zhuangzhuang s the Blue Kite

Author: Shuen-Yan Chan
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This dissertation, "History and Memory in Hou Hsiao-hsien's A City of Sadness and Tian Zhuangzhuang's The Blue Kite" by Shuen-yan, Chan, 陳旋茵, was obtained from The University of Hong Kong (Pokfulam, Hong Kong) and is being sold pursuant to Creative Commons: Attribution 3.0 Hong Kong License. The content of this dissertation has not been altered in any way. We have altered the formatting in order to facilitate the ease of printing and reading of the dissertation. All rights not granted by the above license are retained by the author. DOI: 10.5353/th_b3195184 Subjects: Motion pictures - Political aspects - China Motion pictures - Political aspects - Taiwan


On the Films of Hou Hsiao hsien

Author: Tom Clark
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No Man an Island

Author: James Udden
Publisher: Hong Kong University Press
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This is a book-length study of Hou Hsiao-Hsien, Taiwan's famous director of movies such as 'The Puppetmaster', 'City of Sadness', 'Flowers of Shanghai', and 'Goodbye South, Goodbye'. His body of work reflects a unique film style chracterized by intricatelighting, improvisational acting, and long, static shots.


The Ethics of Witness

Author: Xiao Cai
Publisher: Springer
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This book explores the aesthetic and ethical ways in which history and daily life are filmically represented and witnessed in Taiwanese director Hou Hsiao-hsien’s movies. From the era of the Japanese Occupation to the White Horror and then to the lifting of martial law, the author shows how Hou Hsiao-hsien uses visual media to evoke the rhythms of daily life through the emotional memory of the characters and communities he explores. In particular, the book focuses on the ways in which Hou Hsiao-hsien seeks to reflect the strong dilemmas of identity and the traumatic emotions associated with witnessing history. Taking an interdisciplinary approach, it investigates the concepts of daily life, representation and historical trauma in order to focus on how these films represent history and political trauma through the nature of daily life and personal memories, and the resulting historical responsibility and ethics. This is the first academic monography about Hou Hsiao-hsien’s films.


An Annotated Bibliography for Taiwan Film Studies

Author: Jim Cheng
Publisher: Columbia University Press
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Compiled by two skilled librarians and a Taiwanese film and culture specialist, this volume is the first multilingual and most comprehensive bibliography of Taiwanese film scholarship, designed to satisfy the broad interests of the modern researcher. The second book in a remarkable three-volume research project, An Annotated Bibliography for Taiwan Film Studies catalogues the published and unpublished monographs, theses, manuscripts, and conference proceedings of Taiwanese film scholars from the 1950s to 2013. Paired with An Annotated Bibliography for Chinese Film Studies (2004), which accounts for texts dating back to the 1920s, this series brings together like no other reference the disparate voices of Chinese film scholarship, charting its unique intellectual arc. Organized intuitively, the volume begins with reference materials (bibliographies, cinematographies, directories, indexes, dictionaries, and handbooks) and then moves through film history (the colonial period, Taiwan dialect film, new Taiwan cinema, the 2/28 incident); film genres (animated, anticommunist, documentary, ethnographic, martial arts, teen); film reviews; film theory and technique; interdisciplinary studies (Taiwan and mainland China, Taiwan and Japan, film and aboriginal peoples, film and literature, film and nationality); biographical materials; film stories, screenplays, and scripts; film technology; and miscellaneous aspects of Taiwanese film scholarship (artifacts, acts of censorship, copyright law, distribution channels, film festivals, and industry practice). Works written in multiple languages include transliteration/romanized and original script entries, which follow universal AACR-2 and American cataloguing standards, and professional notations by the editors to aid in the use of sources.


Hou Hsiao hsien and the Aesthetics of Historical Experience

Author: James Udden
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Taiwan Film Directors

Author: Emilie Yueh-yu Yeh
Publisher: Columbia University Press
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Focusing on the work of four contemporary filmmakers—Ang Lee, Edward Yang, Hou Hsiao-hsien, and Tsai Ming-liang—the authors explore how these filmmakers broke from tradition, creating a cinema that is both personal and insistent on examining Taiwan's complex history. Featuring stills, anecdotes, and close readings of films, the authors consider the influence of Hong Kong and martial arts films, directors' experiments with autobiography, the shifting fortunes of the Taiwanese film industry, and Taiwan cinema in the context of international cinema's aesthetics and business practices.