Taiwan Cinema, Memory, and Modernity

1. Front Matter

   Pages i-xvi

   PDF

2. Introduction

   • Ivy I-chu Chang

   Pages 1-18

3. The Visible and the Invisible: Edward Yang’s Taipei Trilogy

   • Ivy I-chu Chang

   Pages 19-41

4. The Ruin, Body, and Time-Image in Tsai Ming-liang’s Films: The Wayward Cloud, What Time Is It There, and I Don’t Want to Sleep Alone

   • Ivy I-chu Chang

   Pages 43-80

5. Colonial Reminiscence, Japanophilia Trend, and Taiwanese Grassroots Imagination in Cape No. 7

   • Ivy I-chu Chang

   Pages 81-123

6. Mourning Love: Queer Performativity and Transformation in Zero Chou’s Spider Lilies and Splendid Float

   • Ivy I-chu Chang

   Pages 125-159

7. Aesthetics of Violence and Elegy for the Young: Chang Tso-chi’s Gang Trilogy

   • Ivy I-chu Chang

   Pages 161-188

8. Repressed Memories and the Unhomely in Chung Mong-hong’s Children Trilogy

   • Ivy I-chu Chang

   Pages 189-229

9. Back Matter

   Pages 231-279

   PDF

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 the works of such prominent directors as Edward Yang, Tsai Ming-liang and Chang Tsuo-chi and their influence on Asian films, as well as emergent phenomenal directors such as Wei Te-sheng, Zero Chou, and Chung Mong-hong. It also explores the possibility of transnational and trans-local social sphere in the interstices of layered colonial legacies, nation-state domination, and global capitalism. Considering Taiwan cinema in the wake of globalization, it analyses how these films represent the socio-political transition among multiple colonial legacies, global capitalism, and the changing cross-strait relation between Taiwan and the Mainland China. The book discusses how these films represent nomadic urban middle class, displaced transnational migrant workers, roaming children and younggangsters, and explores how the continuity/disjuncture of globalization has not only carved into historical and personal memories and individual bodies, but also influenced the transnational production modes and marketing strategies of cinema.

• Taiwan Cinema and China
• Taiwanese Films and Modernity
• Globalization and Asian Films
• Queer Culture in Taiwanese Cinema
• Chang Tso-chi
• Edward Young
• Postmodern Culture in Taiwan Cinema
• Tsai Ming-liang
• Memory and Modernity in Asian Cinema

“The book is a crucial and very welcome examination of a film industry … . the main strengths of this book is the author’s ability to amalgamate the complex deconstruction of film style, paying close attention to cinematography, composition, editing, and narrative, with that of the wider geopolitical complexities of Taiwan’s hybrid cultural landscape.” (Mary J. Ainslie, International Journal of Taiwan Studies, Vol. 4 (2), 2021)

• National Chiao Tung University, Hsinchu, Taiwan

  Ivy I-chu Chang

Ivy I-chu Chang is Professor and the former provost of National Chiao Tung University, Taiwan. She was a visiting scholar and Fulbright scholar at New York University in 2006 and 2011-12, a recipient of MOST Grant (1997-2019), Mackay Canadian Studies Award, and Asian Cultural Council Award. She is the co-editor and chapter contributor of a book, Transnational Performance, Identity, and Mobility in Asia (Palgrave, 2018) and is the author of such monographs as Queer Performativity and Performance (2010); and Global Time-Space, Bodies and Memories: Taiwan New Cinema and its Influence (2015).

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