Table of Contents MINISTER OF CULTURE LUNG YING-TAI Foreword . 5 Introduction RICHARD I. SUCHENSKI “Also like Life:” The Films of Hou Hsiao-hsien . 7 Critical Essays PEGGY CHIAO (HSIUNG-PING) In Search of Taiwan’s Identity: Nativism and Traditional Aesthetics in A City of Sadness . 40 NI ZHEN Transcending Local Consciousness: The Signiﬁcance of Hou’s Films for Asian Cinema . 57 JEAN-MICHEL FRODON Unexpected but Fertile Convergence . 75 JEAN MA A Reinvention of Tradition: Hou Hsiao-hsien’s The Puppetmaster . 87 HASUMI SHIGEHIKO Who Can Put Out the Flame? On Hou Hsiao-hsien’s Flowers of Shanghai . 106 JAMES QUANDT Three Times Three: A Certain Slant of Light in the Films of Hou Hsiao-hsien . 118 JAMES UDDEN Dust in the Wind : A Deﬁnitive Hou/New Cinema Work . 130 WEN TIEN-HSIANG The Unmarried Women . 144 ABÉ MARK NORNES Hou Hsiao-hsien and Narrative Space . 154 KENT JONES In Time . 169 Three Filmmakers on Hou Hsiao-hsien OLIVIER ASSAYAS Hou Hsiao-hsien: In China and Elsewhere . 177 JIA ZHANG-KE A Bard Singing the Remembrances of a Nation . 182 KOREEDA HIROKAZU Things I Learned from Hou . 185 Interview Working within Limits: A Conversation with Hou Hsiao-hsien and Chu Tien-wen . 186 Collaborators CHEN HUAI-EN, CINEMATOGRAPHER Experiments with Realism . 199 MARK LEE (PING-BIN), CINEMATOGRAPHER Exploring Visual Ideas . 209 LIAO CHING-SUNG, EDITOR Finding the Right Balance . 215 TU DUU-CHIH, SOUND A New Era of Sound . 222 CHEN KUO-FU, PRODUCER AND DIRECTOR Conscious Engagement with Reality . 225 ICHIYAMA SH O¯ Z O¯ , PRODUCER Working with Hou Hsiao-hsien . 228 CHUNG MONG-HONG, DIRECTOR AND CINEMATOGRAPHER What I Know about Hou Hsiao-hsien . 231 JACK KAO (CHIEH), ACTOR Acting without Boundaries . 236 HWARNG WERN-YING, PRODUCTION DESIGNER Filmmaking is like Cooking . 238 CHU TIEN-WEN, SCREENWRITER Production Material for Three Times . 242 APPENDIX Biographical Timeline . 258 Filmography . 260 Selected Bibliography . 264 Contributors . 266 A Note on Names and Romanization . 268 The Retrospective: List of Venues . 268 Acknowledgments . 269 Image Credit List . 269.

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Hou Hsiao-Hsien'
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Journal of World Literature 5 (2020) 568–586 brill.com/jwl Intermedial Translation as Circulation Chu Tien-wen, Taiwan New Cinema, and Taiwan Literature Jessica Siu-yin Yeung soas University of London, London, UK [email protected] Abstract We generally believe that literature first circulates nationally and then scales up through translation and reception at an international level. In contrast, I argue that Taiwan literature first attained international acclaim through intermedial translation during the New Cinema period (1982–90) and was only then subsequently recognized nationally. These intermedial translations included not only adaptations of literature for film, but also collaborations between authors who acted as screenwriters and film- makers. The films resulting from these collaborations repositioned Taiwan as a mul- tilingual, multicultural and democratic nation. These shifts in media facilitated the circulation of these new narratives. Filmmakers could circumvent censorship at home and reach international audiences at Western film festivals. The international success ensured the wide circulation of these narratives in Taiwan. Keywords Taiwan – screenplay – film – allegory – cultural policy 1 Introduction We normally think of literature as circulating beyond the context in which it is written when it obtains national renown, which subsequently leads to interna- tional recognition through translation. In this article, I argue that the contem- porary Taiwanese writer, Chu Tien-wen (b. 1956)’s short stories and screenplays first attained international acclaim through the mode of intermedial transla- tion during the New Cinema period (1982–90) before they gained recognition © jessica siu-yin yeung, 2020 | doi:10.1163/24056480-00504005 This is an open access article distributed under the terms of the cc by 4.0Downloaded license.
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Hou Hsiao-Hsien Pdf Free Download
HOU HSIAO-HSIEN PDF, EPUB, EBOOK Richard Suchenski | 272 pages | 04 Aug 2014 | Synema Gesellschaft Fur Film u. Medien | 9783901644580 | English | Vienna, Austria Hou Hsiao-hsien PDF Book Seller does not offer returns. Great Directors. Excellent condition. None had been granted a wide release; a very few hovered in the dim hinterlands of availability on obscure videos—poor color, wrong format, inadequate subtitles. Shi-yan Chao, Asian Cinema A hefty collection of essays, reminiscences, and interviews. Main navigation for mobiles. Business seller information. Learning and training. Approaching his body of work at global level reveals Hou to be a progenitor of slow cinema, with his films moving at a glacial pace as mood is used to create meaning within his austere compositions. Unfolding like a series of solemn tableaux, this dignified saga focuses on the disintegration of the Lin family under an oppressive regime as three sons — bar owner Wen-heung Sung Young Chen , psychologically damaged translator Wen-leung Jack Kao , and the leftist Wen-ching Tony Leung Chiu Wai — choose different but no less tragic paths. The executive committee of the Taipei Golden Horse Film Festival, organizers of the annual prize ceremony, said Monday that their decision to reward Hou was a unanimous one. Shipping cost cannot be calculated. Sometimes all it takes is the right recommendation to set you on your path from newbie to know-it-all…. Each of the recent works requires detailed treatment to do it justice; City of Sadness is discussed in the companion volume on Films. Movies and food are two of the things we do best at SBS, and you can now enjoy the best of both worlds in this new column as we match delicious recipes with soul Item Information Condition:.
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Prémices De L'amour / Three Times De Hou Hsiao-Hsien
Document generated on 09/26/2021 6:43 p.m. 24 images Prémices de l’amour Three Times de Hou Hsiao-hsien Jacques Kermabon Gilles Carle vu par… Number 123, September 2005 URI: https://id.erudit.org/iderudit/5150ac See table of contents Publisher(s) 24/30 I/S ISSN 0707-9389 (print) 1923-5097 (digital) Explore this journal Cite this review Kermabon, J. (2005). Review of [Prémices de l’amour / Three Times de Hou Hsiao-hsien]. 24 images, (123), 51–51. Tous droits réservés © 24/30 I/S, 2005 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ CL Comme son titre l'indique, Three Times comporte trois volets. qui nous submerge à la vue d'un gros plan de deux mains qui CD Le premier, intitulé « Le temps des amours », se déroule en 1966. s'étreignent chastement dans un cadrage qui ose le chromo. À cette époque-là, à Taiwan, des «filles de billard » tenaient une Alors qu'on en serait bien resté là, avec un aplomb inattendu, O place particulière au milieu des hommes, entre l'accueil et l'ani Hou Hsiao-hsien nous plonge dans une autre histoire,«1911, C mation.
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The Cinema of Hou Hsiao-Hsien (Hong Kong: Hong Kong University Press, 2009)
Gettysburg College Faculty Books 2009 No Man an Island: The ineC ma of Hou Hsiao- hsien James N. Udden Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/books Part of the Chinese Studies Commons, and the Film and Media Studies Commons Share feedback about the accessibility of this item. Udden, James. No Man an Island: The Cinema of Hou Hsiao-hsien (Hong Kong: Hong Kong University Press, 2009). This is the publisher's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/books/52 This open access book is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. No Man an Island: The ineC ma of Hou Hsiao-hsien Description Hou Hsiao-hsien is arguably the most celebrated Chinese-language film director in the international film festival realm. However, this is not due to an inert cultural tradition so much as to numerous historical/ contextual factors – most of all his being from Taiwan -- which together explain the accomplishments of Hou. Keywords Hou Hsiao-hsien, Chinese film, internation film festival, cinema Disciplines Chinese Studies | Film and Media Studies Publisher Hong Kong University Press ISBN 9789622090743 Comments Attached is the first chapter, "Hou and the Taiwanese Experience." This book is available at The uC pola: Scholarship at Gettysburg College: https://cupola.gettysburg.edu/books/52 1 Hou and the Taiwanese Experience aiwan is a peculiar place resulting in a peculiar cinema, with Hou Hsiao-hsien Tbeing its most indelible product.
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Plaquette HHH.Indd
3H Productions, Margo Films and Les Films du Lendemain present A film by Hou Hsiao Hsien World Sales : International Press FILMS DISTRIBUTION RICHARD LORMAND 34, rue du Louvre - 75001 PARIS - FR world cinema publicity Tel: + 33 1 53 10 33 99 www.filmpressplus.com Fax: + 33 1 53 10 33 98 cell. +33-6-0949-7925 www.filmsdistribution.com tel. +33-1-4804-5173 In Cannes Booth K5/L8 (Riviera) Tel: +33 4 92 99 32 47 Fax: +33 4 92 99 33 03 In Paris 34, rue du Louvre - 75001 Paris - FR Tel: +33 1 53 10 33 99 Fax: +33 1 53 10 33 98 A mysterious red balloon affectio- nately follows seven-year-old Simon around Paris. His mother Suzanne is a puppeteer who uses her vocal ta- lents to bring life to the shows she writes. Completely absorbed in her new show, single mother Suzanne becomes overwhelmed by the com- plications of modern daily life. She decides to hire Song Fang, a Taiwa- nese fi lm student, to help her care for Simon. FLIGHT OF THE RED BALLOON When did you fi rst see Albert days. He also writes about the game is the fi rst fi lm in a series initiated by the Lamorisse’s fi lm Le Ballon Rouge? on the merry-go-round in the Jardin president of Paris’ Musée d’Orsay, de Luxembourg: the kids on the ride Serge Lemoine, and the production, When Francois Margolin, on the behalf have little sticks, which they try to push in conjunction with the museum’s 20th of the president of the Musée d’Orsay, through the small metal ring as they go anniversary.
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