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Transnational RepresentationsThe State of Taiwan Film in the 1960s and 70s$
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James Wicks

Print publication date: 2014

Print ISBN-13: 9789888208500

Published to Hong Kong Scholarship Online: May 2015

DOI: 10.5790/hongkong/9789888208500.001.0001

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PRINTED FROM HONG KONG SCHOLARSHIP ONLINE (www.hongkong.universitypressscholarship.com). (c) Copyright Hong Kong University Press, 2021. An individual user may print out a PDF of a single chapter of a monograph in HKSO for personal use.date: 13 April 2021

Framing Taiwan Cinema:

Framing Taiwan Cinema:

Perspectives on History in Hou Hsiao-hsien’s Three Times

(p.1) 1 Framing Taiwan Cinema
Transnational Representations

James Wicks

Hong Kong University Press

The first chapter of this book, “Framing Taiwan Cinema: Perspectives on History in Hou Hsiao-hsien’s Three Times”, which is intended to be read alongside a screening of Hou Hsiao-hsien’s 2005 film Three Times, provides an accessible introduction to Taiwan cinema by synthesizing in one location key moments in Taiwan’s film history. While the locus of this chapter is Taiwan’s Mandarin state films, the chapter includes intersections with other national film traditions and describes how Mandarin film gradually replaced the vibrant Taiwanese-dialect film (taiyu pian) tradition in the 1970s. In order to do so, it traces the era’s prominent figures, movements, and dates. This includes a summary of Taiwan film in the early 1960s, the influence of Hong Kong film, especially in 1963, with director Li Hanxiang’s The Love Eterne (Liang Shanbo yu Zhu Yingtai), a brief account of Taiwan’s so-called “golden age” film in the early 1970s, patriotic war films of the mid-1970s, and adaptations of nativist literature by the state in late 1970s films. Overall, this chapter provides an overview of Taiwan cinema and places in position a scaffolding of historical details and information essential for the analyses presented in the following chapters.

Keywords:   Taiwan Film History, Taiwan Cinema, Hou Hsiao-Hsien, 1960s, 1970s, China

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