| The absent father of Sino-French cinema: contemporary Taiwanese cinema and 1950s French auteurs |
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作者 |
Michelle E. Bloom |
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出版年 |
2014 |
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文獻出處 |
Journal of Chinese Cinemas, 2014
Vol. 8, No. 1, 37–56 |
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語言 |
英文 |
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關鍵詞 |
Cheng Yu-chieh; Hou Hsiao-hsien; Tsai Ming-liang; Fran¸cois Truffaut; Albert Lamorisse; French New Wave |
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摘要 |
In contemporary Sino-French cinema, father characters who are dead, long lost or geographically distant leave gaping holes in the lives of the offspring left behind. The absent fathers in Sino-French films by Taiwanese auteurs Cheng Yu-chieh, Hou Hsiao-hsien and Tsai Ming-liang serve as metaphors for French auteurs. French New
Wave films constitute the majority of the intertexts; however, early 1950s French cinema and even late nineteenth-century painting reflect the expansiveness of French influence. Despite the possibility of an orientalist dynamic, Taiwanese auteurs not only pay homage to their French ‘fathers’, and especially New Waver Fran¸cois Truffaut, but also strike out on their own, contributing innovative work to contemporary transnational cinemas. |
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摘要 |
In contemporary Sino-French cinema, father characters who are dead, long lost or geographically distant leave gaping holes in the lives of the offspring left behind. The absent fathers in Sino-French films by Taiwanese auteurs Cheng Yu-chieh, Hou Hsiao-hsien and Tsai Ming-liang serve as metaphors for French auteurs. French New
Wave films constitute the majority of the intertexts; however, early 1950s French cinema and even late nineteenth-century painting reflect the expansiveness of French influence. Despite the possibility of an orientalist dynamic, Taiwanese auteurs not only pay homage to their French ‘fathers’, and especially New Waver Fran¸cois Truffaut, but also strike out on their own, contributing innovative work to contemporary transnational cinemas. |
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