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UC San Diego UC San Diego Electronic Theses and Dissertations UC San Diego UC San Diego Electronic Theses and Dissertations Title The antecedents of Taiwan new cinema : the state of Taiwan film in the 1960s and 1970s Permalink https://escholarship.org/uc/item/1zq2w0qq Author Wicks, James Anthony Publication Date 2010 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO The Antecedents of Taiwan New Cinema: The State of Taiwan Film in the 1960s and 1970s A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by James Anthony Wicks Committee in Charge Professor Yingjin Zhang, Chair Professor Alain Cohen Professor Larissa Heinrich Professor Paul Pickowicz Professor Kuiyi Shen Professor Winnie Woodhull 2010 © James Anthony Wicks 2010 All rights reserved. The Dissertation of James Anthony Wicks is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2010 iii DEDICATION This dissertation is dedicated to Holly, River, Abbey, and Dylan Wicks. iv TABLE OF CONTENTS Signature Page……………………………………………………………… iii Dedication ………………………….……………………………………… . iv Table of Contents………………………………………………………….... v List of Figures ……………………………………………………………… viii List of Tables ……………………………………………………………….. ix Acknowledgements ………………………………………………………… x Vita .………………………………………………………………..……..… xiii Abstract……………………………………………………………………… xiv Introduction ………………………………………………………………. 1 1) Historical research……………………………………………….… 6 2) Theoretical Foundation: The Aesthetics of Transnational Analysis.. 10 3) The Rubric of Postcolonialism……………………………….……. 23 4) Interpretation of the Cinematic Narrative and Image………..…….. 28 Chapter Outline………………………………………..……………… 29 Chapter 1 A Historical Overview of Taiwan Cinema: Representations of Transition in Three Times…...…………. 35 Three Times…………………………………………………….…….. 38 A Time for Freedom………….…………………………………….… 39 A Time for Love……………………………………………………… 46 A Time for Youth………………………………………………….….. 58 Chapter 2 Two Stage Brothers: Xie Jin and Li Xing in the Early 1960s………………………………………………….. 67 Act 1: Setting the Stage…………………………………….…………. 70 v Act 2: Different Backdrop, Same Story……………………………….. 74 Act 3: Separated Neighbors……………………………….……….….. 80 Act 4: Audience Address……………………………………….……... 87 Act 5: Seeing Red……………………………………………..………. 94 Act 6: Beautiful Domestication……………………………………….. 101 Epilogue……………………………………………………………….. 105 Chapter 3 “My Home is in _______”: The Politics of Migration in Bai Jingrui’s 1970 film Home Sweet Home…………………. 111 Constructing Taiwan as “Home Sweet Home”………………………... 114 Narrative 1: You Can Always Go Home…………………….……….... 119 Narrative 2: Who do you love?............................................................... 121 Narrative 3: Opposites Attract………………………………….……... 123 KMT Directives/ Bai’s Choices……………………………….……… 125 Ali: Fear Eats the Soul……………………………………….……….. 128 Black Girl……………………………………………………….…….. 136 A Sort of Homecoming: Home Sweet Home……………………….… 144 Chapter 4 Gender Negotiation in Song Cunshou’s Story of Mother and Taiwan Cinema of the early 1970s…………………..…. 150 Chapter 5 Portraying the Local: Taiwan Cinema in the late 1970s.……. 179 Conclusion 1: The Jameson Debate…………………………………… 188 Conclusion 2: Reflections on the Legacy of the “Healthy Realist” Model……………………………………………………………...….. 193 Conclusion 3: Initiating a Comparative Framework………………….. 198 Conclusion Transnationalism and the Structure of Feeling of 1960s and1970s Taiwan Cinema: A Brief Reflection …………….. 205 vi Notes………………………………………………………………………….... 216 Bibliography…………………………………………………………………… 236 vii LIST OF FIGURES Figure 1: Li Xing’s Script for Heart with a Million Knots ……………...…….. 35 Figure 2: Map of Taiwan as Japanese Colony in 1912………………………… 50 Figure 3: Home Sweet Home’s Introduction of Key Characters (CMPC, 1970).. 112 Figure 4: Ms. Du (Lin Fengjiao) reads Headmaster Du’s (Wang Yin) letter in Li Xing’s Land of the Undaunted. (CMPC, 1975)…………………………... 151 viii LIST OF TABLES Table 1: Transnational Flow and Exchange …………………………………... 22 Table 2: The Three Narratives of Home Sweet Home…………………………. 118 Table 3: Outline of Major Themes……………………....…………………….. 140 Table 4: Three Cinematic Depictions of Migration…………………………… 144 Table 5: Story of Mother Sequence Breakdown………………………….……. 160 Table 6: Goodbye Darling Sequence Breakdown……………………………… 168 ix ACKNOWLEDGEMENTS First, I would like to acknowledge my advisor, Dr. Yingjin Zhang. It is a great pleasure and honor to work for him and with him. Professor Zhang is incredible and admirable; he is kind and sincere, and he always provides excellent constructive criticism that challenges me and takes me to new places in my work. I am proud to have studied under him, and I am deeply grateful for his direction. Next, I would like to acknowledge my committee: Professor Alain Cohen has led me to more carefully consider the importance of narrativity and representations of the unconscious in cinema; Professor Paul Pickowicz welcomed me from day one to study alongside UCSD’s outstanding Modern Chinese History students, and guided me to my first publication; Professor Larissa Heinrich encouraged me to apply for a six month research grant in Taiwan offered by the Taiwan Ministry of Education (full description below); Professor Kuiyi Shen has steered my research into the representative world of paintings, which I have considered alongside the filmic image, and he has also encouraged me to remain focused on Chinese-language secondary sources; and Professor Winnie Woodhull introduced me to the world of films that represent transnational migration, and directed me through a comparative essay that resulted in my second publication. To everyone, thank you so much. I would like to acknowledge the grant I received from the Ministry of Education (Taiwan, R.O.C.). The “Talent Cultivation Project of Taiwanese Literature, History and Art in Globalization” Grant that made the research for this dissertation possible. And to my host-sponsor, Dr. Hsiao-yen Peng at the Academia Sinica, Taipei, Taiwan, who supported me and provided the opportunity to present an in-progress x paper at my host institution, Academia Sinica: I am grateful. I am indebted to the assistance and resources at Academia Sinica and the Chinese Taipei Film Archive. I would also like to briefly express my gratitude by naming those professors most influential to me in the University of California, San Diego, Department of Literature: Professor Linda Brodkey, Professor Lisa Yoneyama, Professor Wai-lim Yip, and Professor Holly Bauer (Warren Writing). And in UCSD’s Department of History: Professor Joseph Esherick, Professor Ye Wa, and Professor Sarah Schneewind. A huge thanks to my Research Seminar colleagues in Modern Chinese History, for their friendship and comprehensive critiques of my thinking and writing: Justin Jacobs, Judd Kinzley, David Chang, Jeremy Murray, and Jenwa Hsung -- they read and improved every page of the third chapter in this dissertation; of course any remaining mistakes in chapter three and in the dissertation as a whole are my own. And to the unforgettable Warren Writing crew who made Tuesday night meetings and teaching a “radical time,” comrades: Alex Chang, Andrea Dominguez, and Lisa Vernoy. And to all of my colleagues at UCSD, especially: Larry Lin, Yin Wang, Alvin Wong, and Angie Chau, thank you for your friendship and support. I would like to express my appreciation to all of my friends at the Mesa Apartments at UCSD as well. Thanks to you, these last few years have been the best in my life: Sabrina Starnaman, Dr. Matt Brown, and Esther; the Barbosa Pestana Faction: André, Catarina, Rita, Miguel, and Pedro; Will, Rika, Miz and Sen Brent; and Danny, Lori, Naomi, Isaiah, Jordan, and Joel Frese. xi I would like to acknowledge all of my friends in Taiwan who also made the research trip possible in the summer and fall of 2008: Stella Lin and Agatha, Jimmy Lin and Rora, and two of the greatest people I know, Ted and Beverly Skiles. Also, a heartfelt thanks to my excellent colleagues at Point Loma Nazarene University. It has been a great year with you. And to my good friends: Brent West, Nick Leggatt, Daniel Quirós, Jouni Hilvo, Bret Barker, Brent Fugimoto, Jason Huang, and Shane “Shano” Sjogren. You have all encouraged me and kept me going. Thank you Mom and Dad, Linda-Kay and Frank Anthony Wicks. And with much gratitude, my in-laws, Terry and Gail Burns. Thank you for your support. And finally to my four favorite people in the whole-wide: Holly, River, Abbey, and Dylan. This dissertation is dedicated to you. If not for you, I would still be writing it, instead of writing these acknowledgments. Chapter 2, in part, is a reprint of the material as it appears in Modern Chinese Literature and Culture, Spring 2009. Wicks, James, 2009. The dissertation author was the primary investigator and author of this paper. Chapter 3, in part, is a reprint of the material as it appears in Journal of Chinese Cinemas, Spring 2010, Wicks, James, 2010. The dissertation author was the primary investigator and author of this paper. Chapter 4, in part, has been submitted for publication in a forthcoming volume on Chinese cinemas. The dissertation author was the primary investigator and author of this material. xii VITA 1998 Bachelor of Arts, Oregon State University 2005 Master of Arts, Oregon State University 2010 Doctor of Philosophy, University of California, San Diego PUBLICATIONS
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