| Hou Hsiao-Hsien’s films: pursuing and escaping history |
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作者 |
DAI Jinhua (Translated by ZHANG Jingyuan) |
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出版年 |
2008 |
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文獻出處 |
Inter-Asia Cultural Studies, Volume 9, Number 2 |
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語言 |
英文 |
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關鍵詞 |
Hou Hsiao-Hsien, auteurism, national allegory, Cold War, post-Cold War, history, Taiwan films |
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摘要 |
This article situates Hou Hsiao-Hsien’s films in the post Cold-War global setting. It discusses two common interpretive approaches to Hou Hsiao-Hsien’s films – French auteurism and ‘national allegory’ – and puts these two approaches within their historical context of Cold-War and post Cold-War global politics. The article places the rise of Hou Hsiao-Hsien’s films parallel to the rise of the mainland fifth generation of film directors, pointing out that their apparently opposite
directions – Hou Hsiao-Hsien going political in his Taiwan trilogy and the fifth generation film directors going apolitical – are part and parcel of the same phenomenon of alternative politics in its particular contexts and the reconstruction of a new identity politics. Particular attention is given to Hou’s Taiwan trilogy,Flowers of Shanghai , and Coffee Jikou. |
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摘要 |
This article situates Hou Hsiao-Hsien’s films in the post Cold-War global setting. It discusses two common interpretive approaches to Hou Hsiao-Hsien’s films – French auteurism and ‘national allegory’ – and puts these two approaches within their historical context of Cold-War and post Cold-War global politics. The article places the rise of Hou Hsiao-Hsien’s films parallel to the rise of the mainland fifth generation of film directors, pointing out that their apparently opposite
directions – Hou Hsiao-Hsien going political in his Taiwan trilogy and the fifth generation film directors going apolitical – are part and parcel of the same phenomenon of alternative politics in its particular contexts and the reconstruction of a new identity politics. Particular attention is given to Hou’s Taiwan trilogy,Flowers of Shanghai , and Coffee Jikou. |
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