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The Rebellious Slowness: Youth Cultu...

Ren, Karen,

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The Rebellious Slowness: Youth Culture, Political Resistance and Historical Reminiscence in Taiwan New Cinema /

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Rebellious Slowness: Youth Culture, Political Resistance and Historical Reminiscence in Taiwan New Cinema // Karen Ren.
Author:	Ren, Karen,
Description:	1 electronic resource (151 pages)
Notes:	Source: Masters Abstracts International, Volume: 86-04.
Contained By:	Masters Abstracts International86-04.
Subject:	Culture. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31527088
ISBN:	9798342111133

The Rebellious Slowness: Youth Culture, Political Resistance and Historical Reminiscence in Taiwan New Cinema /
Ren, Karen,

The Rebellious Slowness: Youth Culture, Political Resistance and Historical Reminiscence in Taiwan New Cinema /Karen Ren. - 1 electronic resource (151 pages)

Source: Masters Abstracts International, Volume: 86-04.

Published by a group of young Taiwanese filmmakers in 1987, the Taiwan New Cinema manifesto shared concerns about the future and authenticity of Taiwanese cinema. With the unique adoption of slow-cinema techniques by these Taiwanese New Cinema filmmakers, such as static cameras, deep focus, long takes, complex depth of field, cool color schemes, and melancholic atmosphere, Taiwanese cinema from 1980s to early 2000s has influenced many contemporary Taiwanese and Asian filmmakers. Focusing on the works of three highly influential filmmakers associated with the Taiwan New Cinema -- Hou Hsiao-Hsien, Edward Yang, and Tsai Ming-Liang -- this thesis explores how the aesthetics of "slowness" in cinema operates as a critical response to the social, political, and economic changes in Taiwan in the late twentieth century as it transitioned from the era of Kuomintang authoritarianism to that of neoliberalism and the post-martial law Democratic Progressive Party ruling. In doing so, this thesis explores the impact of Taiwan's authoritarian regimes, neoliberal reforms, democratization, and queer activism on the everyday space captured by their slow cameras. This thesis also investigates the youth culture, which is one of the main forces of Taiwan's tumultuous societal transformation, as portrayed in the similarly "young" New Cinema films. By examining Hou Hsiao-Hsien's portrayal of lower-class countryside youth, Edward Yang's exploration of the high-middle class urban generation, and Tsai Ming-Liang's depiction of marginal queer flaneurs, this thesis demonstrates how New Cinema films act as a critical mirror reflecting subtle resistance by youth to neoliberal expectations of individualism and Confucian ideals of collectivity in Taiwan. The rebellious young generations in these films thus represent a desire to establish a Taiwanese identity that is distinct from Chinese, Japanese, and American influences. In doing so, this thesis illuminates the power of slow cinema as a timely medium for reflecting and addressing social and political issues.

English

ISBN: 9798342111133Subjects--Topical Terms:

517003
Culture.

The Rebellious Slowness: Youth Culture, Political Resistance and Historical Reminiscence in Taiwan New Cinema /
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520 $a Published by a group of young Taiwanese filmmakers in 1987, the Taiwan New Cinema manifesto shared concerns about the future and authenticity of Taiwanese cinema. With the unique adoption of slow-cinema techniques by these Taiwanese New Cinema filmmakers, such as static cameras, deep focus, long takes, complex depth of field, cool color schemes, and melancholic atmosphere, Taiwanese cinema from 1980s to early 2000s has influenced many contemporary Taiwanese and Asian filmmakers. Focusing on the works of three highly influential filmmakers associated with the Taiwan New Cinema -- Hou Hsiao-Hsien, Edward Yang, and Tsai Ming-Liang -- this thesis explores how the aesthetics of "slowness" in cinema operates as a critical response to the social, political, and economic changes in Taiwan in the late twentieth century as it transitioned from the era of Kuomintang authoritarianism to that of neoliberalism and the post-martial law Democratic Progressive Party ruling. In doing so, this thesis explores the impact of Taiwan's authoritarian regimes, neoliberal reforms, democratization, and queer activism on the everyday space captured by their slow cameras. This thesis also investigates the youth culture, which is one of the main forces of Taiwan's tumultuous societal transformation, as portrayed in the similarly "young" New Cinema films. By examining Hou Hsiao-Hsien's portrayal of lower-class countryside youth, Edward Yang's exploration of the high-middle class urban generation, and Tsai Ming-Liang's depiction of marginal queer flaneurs, this thesis demonstrates how New Cinema films act as a critical mirror reflecting subtle resistance by youth to neoliberal expectations of individualism and Confucian ideals of collectivity in Taiwan. The rebellious young generations in these films thus represent a desire to establish a Taiwanese identity that is distinct from Chinese, Japanese, and American influences. In doing so, this thesis illuminates the power of slow cinema as a timely medium for reflecting and addressing social and political issues.
520 $a Publie en 1987 par un groupe de jeunes cineastes taiwanais, le manifeste du Nouveau Cinema taiwanais partageait des preoccupations concernant l'avenir et l'authenticite du cinema taiwanais. En adoptant des techniques uniques de films contemplatifs, tels que des cameras statiques, une mise au point profonde, des prises de vue longues, une profondeur de champ complexe, une palette de couleurs froide, et une atmosphere melancolique, le cinema taiwanais des annees 1980 au debut des annees 2000 a influence de nombreux cineastes taiwanais et asiatiques contemporains. En se concentrant sur les oeuvres de trois cineastes tres influents associes au Nouveau cinema taiwanais : Hou Hsiao-Hsien, Edward Yang et Tsai Ming-Liang, cette these examine la maniere dont l'esthetique de la « lenteur » dans le cinema fonctionne en tant qu'une reponse critique aux changements sociaux, politiques et economiques survenus a Taiwan a la fin du XXe siecle. Cette periode a marque la transition entre l'ere autoritariste du Kuomintang et celle du neoliberalisme, avec le Parti progressiste democratique au pouvoir suite a la levee de la loi martiale. En ce sens, cette these examine l'impact des regimes autoritaires, des reformes neoliberales, de la democratisation et de l'activisme queer a Taiwan sur l'espace quotidien capture par leurs cameras lentes. Elle analyse egalement la culture de la jeunesse, l'une des principales forces de transformation tumultueuse de la societe taiwanaise, telle qu'elle est depeinte dans les films du Nouveau cinema, qui sont egalement consideres comme « jeunes ». En parcourant la representation par Hou Hsiao-Hsien de la jeunesse rurale de la classe inferieure, l'exploration par Edward Yang de la generation urbaine de la classe moyenne superieure, et la representation par Tsai Ming-Liang des flaneurs queer marginaux, cette these demontre comment les films du Nouveau Cinema agissent comme un miroir critique, refletant une resistance subtile de la jeunesse aux attentes neoliberales d'individualisme et aux ideaux confuceens de collectivite a Taiwan. Les jeunes generations rebelles de ces films representent donc un desir d'etablir une identite taiwanaise distincte des influences chinoises, japonaises et americaines. Ce faisant, cette these met en lumiere le pouvoir du cinema lent en tant que moyen pertinent de reflexion et de traitement des questions sociales et politiques.
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