The book examines recent developments in Taiwan cinema, with partiuclar focus on a leading contemporary Taiwan filmmaker, Wei Te-sheng, who is responsible for such Asian blockbusters as Cape No.7, Warriors of the Rainbow: Seediq Bale and Kano. The book discusses key issues, including: why (until about 2008) Taiwan cinema underwent a decline, and how cinema is portraying current social changes in Taiwan, including changing youth culture and how it represents indigenous people in the historical narrative of Taiwan. The book also explores the reasons why current Taiwan cinema is receiving a much less enthusiastic response globally compared to its reception in previous decades.
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vii | |
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viii | |
| Editorial note |
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xii | |
| Acknowledgements |
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xiii | |
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1 From Taiwan New Cinema to post-New Cinema: An introduction |
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1 | (8) |
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PART I International reception and Taiwan cinema |
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9 | (84) |
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2 Taiwan cinema across the globe: A Brazilian perspective |
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11 | (14) |
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3 Variables of transnational authorship: Hou Hsiao-hsien and Wei Te-sheng |
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25 | (14) |
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4 Taiwan cinema at the Venice Film Festival: From cultural discovery to cultural diplomacy |
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39 | (14) |
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5 Contesting the national, labelling the renaissance: Exhibiting Taiwan cinema at film festivals in Japan since the 1980s |
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53 | (16) |
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6 Programming Taiwan cinema: A view from the international film festival circuit |
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69 | (11) |
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7 Interventions on cultural margins: The case of the Chinese Film Forum UK and the presence of Taiwan cinema in the UK |
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80 | (13) |
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PART II Taiwan cinema and social change |
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93 | (98) |
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8 Becoming a nation: The shaping of Taiwan's native consciousness in Wei Te-sheng's post-millennium films |
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95 | (16) |
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9 Imagine there's no China: Wei Te-sheng and Taiwan's `Japan complex' |
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111 | (11) |
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10 Kano and Taiwanese baseball: Playing with transregionality and postcoloniality |
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122 | (12) |
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11 Seediq Bale as history |
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134 | (12) |
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12 Violence and indigenous visual history: Interventional historiography in Seediq Bale and Wushe, Chuanzhong Island |
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146 | (13) |
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13 Archiving an historical incident: The making of Seediq Bale as a socio-political event |
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159 | (14) |
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14 Mona Rudo's scar: Two kinds of epic identity in Seediq Bale |
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173 | (18) |
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PART III Interview and supplement |
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191 | (12) |
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15 A conversation with Taiwanese filmmaker Wei Te-sheng |
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193 | (10) |
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| Appendix I A short biography of Wei Te-sheng |
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203 | (2) |
| Appendix II Synopses of Cape No. 7, Seediq Bale and Kano |
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205 | (3) |
| Chinese glossary: Selected names and terms |
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208 | (3) |
| Selected Chinese filmography |
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211 | (4) |
| Bibliography |
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215 | (14) |
| Index |
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229 | |
Kuei-fen Chiu is Professor of Taiwan Literature and Transnational Cultural Studies at National Chung Hsing University, Taiwan.
Ming-yeh T. Rawnsley is a Research Associate in the Centre of Taiwan Studies at the School of Oriental and African Studies, University of London, UK.
Gary Rawnsley is Professor of Public Diplomacy in the Department of International Politics at Aberystwyth University, UK.
