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Melancholy DriftMarking Time in Chinese Cinema$
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Jean Ma

Print publication date: 2010

Print ISBN-13: 9789888028054

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789888028054.001.0001

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(p.147) Coda
Melancholy Drift

Jean Ma

Hong Kong University Press

The expansiveness of Wong Kar-wai's approach to intertextuality, citation, and borrowing, along with the dense cross-cultural, cross-medial matrix in which his films are situated suggest another angle on the director's position within the tradition of art cinema. Likewise, the work of Hou Hsiao-hsien and Tsai Ming-liang also illustrates the reverberations of postmodernism in the arena of art cinema, a development that complicates the view of these directors as realists based on their reliance upon the long take. The idea of a cinema of time finds a further resonance in contemporary Chinese cinema beyond the work of Hou Hsiao-hsien, Tsai Ming-liang, and Wong Kar-wai. One notable figure who engages a similar problematic of temporal form and historicity is Jia Zhangke, one of the leading directors of the PRC's Sixth Generation. Jia's films assume a critical view of the official discourse of progress and market reform shaping China's new era.

Keywords:   Wong Kar-wai, intertextuality, art cinema, Hou Hsiao-hsien, Tsai Ming-liang, long take, Chinese cinema, Jia Zhangke

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