Table Of Content

Locating Taiwan Cinema in the Twenty-First Century Locating Taiwan Cinema in the Twenty-First Century EDITED BY Paul G. Pickowicz and Yingjin Zhang Cambria Sinophone World Series General Editor: Victor H. Mair Copyright 2020 Cambria Press All rights reserved. Printed in the United States of America No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording, or otherwise), without the prior permission of the publisher. Requests for permission should be directed to [email protected], or mailed to: Cambria Press 100 Corporate Parkway, Suite 128 Amherst, New York 14226, USA Library of Congress Cataloging-in-Publication Data Names: Pickowicz, Paul, editor. | Zhang, Yingjin, editor. Title: Locating Taiwan cinema in the twenty-first century / edited by Paul G. Pickowicz and Yingjing Zhang. Description: Amherst : Cambria Press, [2020] | Series: Cambria sinophone world series | Includes bibliographical references and index. | Summary: "There has been much discussion of New Wave Taiwan cinema of the 1980s and 1990s, including research that studies the pathbreaking contributions of acclaimed directors like Hou Hsiao-hsien. This book updates the scholarship on Taiwan cinema by taking it into the twenty-first century. It is the first book to take a multidisciplinary approach to evaluating recent Taiwan films. The authors are specialists in cultural studies, history, and the social sciences, and they use different film materials and methodologies to analyze the ways in which filmmakers deal with the evolution of Taiwan's society, economy, and culture in the new century. The emphasis is placed on the diversity of approaches that characterize recent Taiwan cinema. Taiwanese filmmakers use many forms and genres to tackle pressing issues. In sharp contrast to the late-twentieth- century New Wave filmmakers who were widely regarded as producing "art films" that had little impact on the domestic market, many recent Taiwan films have enjoyed huge commercial success in Taiwan. This book probes many crucial controversies: What are Taiwan's meaningful cultural and historical connections to Japan? How do Taiwanese filmmakers and audiences feel about mainland China? How does Taiwan cinema deal with environmental issues, animal rights, human trafficking, sexuality, and the challenges facing ethnic minorities? Locating Twenty-First-Century Taiwan Cinema is an important book for collections in Asian studies, film studies, and the social sciences"-- Provided by publisher. Identifiers: LCCN 2020032050 | ISBN 9781621965459 (hardback) | ISBN 9781621965633 (adobe pdf) | ISBN 9781621965640 (epub) Subjects: LCSH: Motion pictures--Taiwan--History--21st century. | Motion pictures--Social aspects--Taiwan--History--21st century. Classification: LCC PN1993.5.T28 L63 2020 | DDC 791.43095124/9--dc23 LC record available at https://lccn.loc.gov/2020032050 Table of Contents List of Figures............................................................... vii Acknowledgments........................................................... xi Introduction: Locating Taiwan Cinema in the Twenty-First Century Paul G. Pickowicz and Yingjin Zhang.............................. 1 Part I: Taiwan in Context............................................... 19 Chapter 1: Taiwan Film Market in the New Millennium Yingjin Zhang................................................... 21 Chapter 2: Totem—Song for Home Daisuke Miyao.................................................. 41 Chapter 3: “I Know That Song” Andrew D. Morris.............................................. 61 Chapter 4: Local Histories/Global Recognition W. Z. Hill........................................................ 79 Part II: Genres in Focus................................................. 95 Chapter 5: Farewell, China Nostalgia Shaohua Guo.................................................... 97 Chapter 6: The Protest Film Genre in Twenty-First-Century Taiwan Cinema Paul G. Pickowicz............................................. 113 Chapter 7: Taiwan from Below Sang Eun Eunice Lee.......................................... 133 Part III: Artists in Spotlight........................................... 151 vi Taiwan Cinema in the 21st Century Chapter 8: Le Moulin Andy Birtwistle and Kuei-fen Chiu.......................... 153 Chapter 9: At the Intersection of Cinema, Photography, and Painting Chihho Lin..................................................... 173 Chapter 10: Filming and Performing the Girl Next Door Pai Wang..................................................... 187 Part IV: Crises in Spotlight........................................... 207 Chapter 11: Historical Sensibility Jiann-guang Lin............................................. 209 Chapter 12: Miserable Company Thomas Chan................................................ 227 Chapter 13: The Secret Beauty of History Shu-ching Chen.............................................. 245 Bibliography................................................................ 265 Filmography................................................................ 291 Glossary..................................................................... 295 Index......................................................................... 301 About the Contributors................................................... 319 Cambria Sinophone World Series....................................... 321 List of Figures Figure 1: Suming sings a song in the morning light. Totem—Song for Home (d. Shingo Wakagi, 2009) ........................... 55 Figure 2: Suming hesitantly smiles during the band interview. Totem—Song for Home (d. Shingo Wakagi, 2009) ............ 57 Figure 3: “I know that song.” Cape No. 7 (d. Wei Te-sheng, 2008) ...............................................................65 Figure 4: Taiwanese Kanō players sing to support their teammate. Kano (d. Umin Boya, 2014) .....................................69 Figure 5: Coach Kondō Hyōtarō leads his almost-triumphant team off the field at Kōshien. Kano (d. Umin Boya, 2014) ...............................................................71 Figure 6: Jōsha Hiromi shouts, “Kanō, heroes of the field! Kanō is for the world!” after conclusion of the championship game. Kano (d. Umin Boya, 2014) ............................. 74 Figure 7: The portrayal of rural Kaohsiung. The Wonderful Wedding (d. Huang Chao-liang, 2015) ....................... 104 Figure 8: Li Jinshuang picks up RMB from the floor. The Wonderful Wedding (d. Huang Chao-liang, 2015) .......... 109 Figure 9: Slaughtering calves in China to make fancy high heels. My Fancy High Heels (d. Ho Chao-ti, 2010) ................. 119 viii Taiwan Cinema in the 21st Century Figure 10: One of the men who seek to control migrant woman Lianqing. The Road to Mandalay (d. Midi Z, 2016) ............................................................ 122 Figure 11: Teenage Nakaw defies police and blocks developers. Wawa No Cidal (d. Cheng Yu-chieh, Lekal Sumi, 2015) ............................................................ 128 Figure 12: A mountain village precariously sits between landslide scars. Beyond Beauty: Taiwan From Above (d. Chi Po- lin, 2013) ....................................................... 142 Figure 13: One of many prominent hand shots. Le Moulin (d. Huang Ya-li, 2015) ............................................159 Figure 14: “Faceless” reenactment. Le Moulin (d. Huang Ya-li, 2015) ............................................................ 161 Figure 15: Chen Mo leaves the lightbox, and Chang Chao-tang’s photograph Banqiao (1962) is revealed. Parking (d. Chung Mong-hong, 2008) ....................................178 Figure 16: Chang Chao-tang’s other photograph, Banqiao, Jiangzicui (1964), is displayed on another lightbox. Parking (d. Chung Mong-hong, 2008) ...................... 180 Figure 17: The switches between subjective and objective point- of-view shots. Blue Gate Crossing (d. Yee Chin-yen, 2002) ............................................................ 195 Figure 18: The montage of a hand opening a note and the close- up of Xiaoyu’s face. Secret (d. Jay Chou, 2007) ............ 197