Posts Tagged ‘taiwan’

Chinese-language films screening at UT Austin

Sunday, November 6th, 2011

The Department of Radio-Film-Television and the Center for East Asian Studies at the University of Texas at Austin present:

Contemporary Chinese-Language Cinema, Nov 9-13, 2011

with Peggy Hsiung-ping Chiao, distinguished Taiwanese scholar and film producer, alumna and recipient of the 2011-12 William Randolph Hearst Fellow Award from the College of Communication, The University of Texas at Austin

Public Lecture: Chinese-Language Cinema – The New Image
Nov 11 (Fri) 3:30 p.m. – 5 p.m. Legends Room, the Etter-Harbin Alumni Center

Award Ceremony will be held at the end of the lecture and followed by the reception

Master Class: Filmmaking in China: From Art Cinema to Commercial Production
Nov 10 (Thur) 3:30 p.m. – 5 p.m. CMA 4.128

Public Screenings of Films Produced by Peggy Chiao

Buddha Mountain Nov 9 (Wed) 7:30 p.m. CMB Studio 4D (CMB 4.122)
Beijing Bicycle Nov 10 (Thur) 7:30 p.m. ART 1.102

Taiwan Cinema of the 2000s In Celebration of the Founding of the Taiwan Academy

Nov 11 (Fri) 5 p.m. -7:30 p.m. Legends Room, the Etter-Harbin Alumni Center

Public Screenings of Films Made in Taiwan

7:30 p.m. CMB Studio 4D (CMB 4.122)
Hear Me Nov 11 (Fri)
Blue Gate Crossing Nov 12 (Sat)
Yang Yang Nov 13 (Sun)

Please see the websites below for more details:

CinemaTalk: A Conversation with Professor Guo-Juin Hong on Taiwan Cinema, 1949 and Documentaries

Wednesday, July 6th, 2011

By Michael Chenkin

Guo-Juin Hong is Andrew W. Mellon Associate Professor of Chinese Cultural Studies at Duke University. Hong has published articles on such topics as early Shanghai cinema, new Taiwan cinema, documentary film, and queer visual culture. His essay on colonial modernity in 1930s Shanghai was the winner of the 2009 Katherine Kovacs Essay Award, Honorable Mention, and his dissertation received the 2005 Dissertation of the Year Award, Honorable Mention, both by the Society for Cinema and Media Studies. Hong teaches courses on film theory and historiography, Chinese-language cinemas, melodrama, documentary, and visual culture.

Earlier this year Guo published Taiwan Cinema: A Contested Nation on Screen (Palgrave Macmillan). The book is described as “A groundbreaking study of Taiwan cinema, this is the first English language book that covers its entire history. Hong revises how Taiwan cinema is taught and studied by taking into account not only the auteurs of New Taiwan Cinema, but also the history of popular genre films before the 1980s. This work will be essential reading for students and scholars of Taiwan and Chinese-language cinemas and of great value to those interested in the larger context of East Asian cultural history as well as film and visual studies in general.”


dGF: Could you tell me a little about your present interests in Chinese language cinema. What are you concentrating on right now, and what do you have planned for the future?

GJH: My book came out in February of this year and it is the first and only full-length book in English language on Taiwan cinema that covers its entire history. In that book, I looked at the question of national cinema as the core problematic because of the unique status of Taiwan. After 400 years of colonial history, Taiwan seemed to straddle between the status of nation and non-nation. Questions of national cinema seem outdated because of all the discussion of the transnational and the global. However, I find that to be over-simplistic. Even though national cinema is a very problematic category, it is still deployed at all times for other minor cinemas in relation to Hollywood. I go through the history of Taiwan cinema and I locate different critical historical moments to test the questions of nation in cinema which is think is still a very productive historio-graphical exercise.

Now that it is done, I hope that it has opened up doors for people to continue paying attention to not only Chinese language cinemas in general, but also Taiwan cinema specifically because especially in English language study, Taiwan cinema before 1982 has always been neglected. It was a situation that didn’t get at least partially corrected until a year ago when I guest edited a special issue for the Journal of Chinese Cinemas, focusing on what we call the “missing years” between 1960 and 1980. Those years were obviously important to the history of Taiwan cinema but also I think it is an important part of the larger cultural history of East Asia. This is the work I have been concentrating on the last few years.

dGF: What about your newest projects?


Jia Zhangke Makes Cut in Taiwanese-Dominated Greatest Chinese Films List

Tuesday, February 8th, 2011

By Isabella Tianzi Cai

Jia Zhangke

The 47th Taipei Golden Horse Festival conducted a survey to find out the 100 greatest Chinese-language films made between 1922 and 2009. The votes from 122 film professionals have been tallied and are posted on Film Business Asia’s website.

Director Jia Zhangke has three films in the top 100. They are Xiao Wu (1997), ranked 35th; Still Life (2006), ranked 44th; and Platform (2000), ranked 73rd. Jia’s film Dong, a companion piece to Still Life, is distributed by dGenerate.

As pointed out by Stephen Cremin in the report, majority of the participants of the survey come from Taiwan, and an official list of films was used for the survey, therefore, the results are likely favored toward Taiwanese productions. Six of the top ten are Taiwanese productions, and five of them are directed by either Edward Yang or Hou Hsiao-hsien, the leading talents of the Taiwanese New Wave of the 1980s and 1990s. Hopefully future polls of this kind will recognize the lasting achievements of the Chinese independent film movement of the past decade.

The full list can be viewed at Film Business Asia.

CNEX announces Documentary Call for Entries

Monday, July 12th, 2010

Our friends at CNEX, producers of the prize-winning 1428, have announced an open call for film and TV documentary projects dealing with Chinese topics around the world. Selected participants will attend the CNEX Chinese Doc Forum, held on October 31st and November 1st in Taipei, Taiwan, with the opportunity to receive funding and attract additional support.

Details and application information after the break.


Best of the Decade, Taiwanese Style

Thursday, July 8th, 2010

By Isabella Tianzi Cai

Yi Yi (dir. Edward Yang)

Yi Yi (dir. Edward Yang)

The Taiwanese film magazine Fun Screen called on 68 filmmakers, film scholars, film critics, as well as other related film personnel to vote for the 10 best Taiwanese pictures produced in the years between 2000 and 2009. They were inspired by a similar poll conducted by dGenerate Films earlier this year concerning the 10 best Chinese-language films also made in the past decade.

The result of Fun Screen’s poll came close to ours: Yi Yi, which ranked no. 4 in dGenerate Films’ top-10 list, clinched the no. 1 position in Fun Screen’s top-10 list; and Crouching Tiger Hidden Dragon, which ranked no. 9 in our list, came second there. These films were first and second among Taiwanese films in the dGenerate poll.

The introduction of the poll acknowledged the results of the dGenerate poll in inspiring the poll of Taiwanese films: “At Fun Screen, we do not wish to challenge the list, but the list has made us acutely aware of the fact that Taiwanese films still lack a great deal of international recognition.”

As noted by Lin Wenqi, the chief editor of Fun Screen, “the goal of their poll is not about which film ranks higher than another, but is part of an effort to recognize and celebrate local film talent over the past decade. Fun Screen also just recently published 28 special reports with famous Taiwanese film directors over the past 10 years in a book called The Voices from Taiwanese Films.

The results of the Fun Screen poll can be found after the break.


Tsai Ming-Liang Film Series at Asia Society

Thursday, November 12th, 2009

In collaboration with Taipei Economic and Cultural Office in New York, the Asia Society presents “Faces of Tsai Ming-Liang,” a film series devoted to one of the most unique auteurs in world cinema, from November 13-21, as part of its CITI Series on Asian Arts and Culture.

Malaysian-born and Taiwan-based director Tsai Ming-Liang is deemed the key figure of Taiwanese cinema’s “Second New Wave.” His work is less political and historically freighted than that of forerunners like Hou Hsiao-Hsien and Edward Yang, but often offers “unblinking portraits of rootlessness in post-boom Taiwan [that] double as trenchant anatomies of desire” (Dennis Lim, Village Voice). Called a “poet of urban anomie” (Leslie Camhi, New York Times), Tsai has created a uniquely coherent oeuvre and film language to express ideas of desire, alienation, loss, and emotional bankruptcy, punctuated by moments of absurdist humor and based on deep humanist concern.