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Transnational Images in a Global Fra...

Tsai, Peijen Beth.

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Transnational Images in a Global Frame: Film Festivals and Taiwan Cinema through the Lens of Hou Hsiao-hsien and Tsai Ming-liang.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Transnational Images in a Global Frame: Film Festivals and Taiwan Cinema through the Lens of Hou Hsiao-hsien and Tsai Ming-liang./
Author:	Tsai, Peijen Beth.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	250 p.
Notes:	Source: Dissertation Abstracts International, Volume: 79-03(E), Section: A.
Contained By:	Dissertation Abstracts International79-03A(E).
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10622450
ISBN:	9780355490268

Transnational Images in a Global Frame: Film Festivals and Taiwan Cinema through the Lens of Hou Hsiao-hsien and Tsai Ming-liang.
Tsai, Peijen Beth.

Transnational Images in a Global Frame: Film Festivals and Taiwan Cinema through the Lens of Hou Hsiao-hsien and Tsai Ming-liang. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 250 p.

Source: Dissertation Abstracts International, Volume: 79-03(E), Section: A.

Thesis (Ph.D.)--State University of New York at Stony Brook, 2017.

This item is not available from ProQuest Dissertations & Theses.

This dissertation examines the geopolitical and cultural dynamics between European and Taiwan cinema. I explore how art house cinema were circulated and received at major European festivals---Berlin, Cannes, and Venice---to question the role that film festivals play in influencing new cinematic styles for local, regional, and global consumption. Before Taiwan New Cinema became world renowned, films from Taiwan, despite sporadic forays into international festivals, had hitherto been prescribed as coming from a non-national nation (Chinese Taipei), or a nation without nationality (Taiwan, Province of China). If Taiwan cinema's success in the film festival circuits is due to its proliferation of aesthetics, vernacular style also leaves traces of global culture, with which they form an increasingly transnational dialogue. How does this reflect and construct the concept of "national cinema"? Which cinematic traditions are being circulated and recognized as legitimate aspects of the national cinema? I argue while the circulation of films at festivals led to legitimizing New Cinema as the representative of Taiwan on the global stage, the festival strategy was also prompted by what the locals need, desire, and want, and it was part of a dialogue between film criticism and the continuing involvement in official film policy. I conclude that international film festivals remain an instrumental role in trigging the debates about national cinema.

ISBN: 9780355490268Subjects--Topical Terms:

2122736
Film studies.

Transnational Images in a Global Frame: Film Festivals and Taiwan Cinema through the Lens of Hou Hsiao-hsien and Tsai Ming-liang.
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506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a This dissertation examines the geopolitical and cultural dynamics between European and Taiwan cinema. I explore how art house cinema were circulated and received at major European festivals---Berlin, Cannes, and Venice---to question the role that film festivals play in influencing new cinematic styles for local, regional, and global consumption. Before Taiwan New Cinema became world renowned, films from Taiwan, despite sporadic forays into international festivals, had hitherto been prescribed as coming from a non-national nation (Chinese Taipei), or a nation without nationality (Taiwan, Province of China). If Taiwan cinema's success in the film festival circuits is due to its proliferation of aesthetics, vernacular style also leaves traces of global culture, with which they form an increasingly transnational dialogue. How does this reflect and construct the concept of "national cinema"? Which cinematic traditions are being circulated and recognized as legitimate aspects of the national cinema? I argue while the circulation of films at festivals led to legitimizing New Cinema as the representative of Taiwan on the global stage, the festival strategy was also prompted by what the locals need, desire, and want, and it was part of a dialogue between film criticism and the continuing involvement in official film policy. I conclude that international film festivals remain an instrumental role in trigging the debates about national cinema.
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