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Taking Edward Yang's Yi Yi: A One and a Two (2000) and Hou Hsiao-Hsien's Café Lumière (2003) as examples, this article addresses the rise of new wave in the age of globalization. In parallel with the ...Hollywood-led transformation of the film industry on a global scale, Taiwan new wave appeared in the early 1980s as an alternative and post-national cinematic movement, making a break with the old and government-oriented filmmaking. Through a close reading of the reflexive subjects and their cross-cultural flows between landscapes in the films, this article investigates the ways how new wave filmmakers, both at the diegetic and extra-diegetic levels, reflect on the transformation of Taiwan's geopolitical landscape and fluid subjectivity under globalization.show more
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