CURE2024 Taiwan New Cinema and Beyond: Authorship, Transnationality, Historiography 2021/22 Term 2 (tentative outline)
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CURE2024
Taiwan New Cinema and Beyond:
Authorship, Transnationality, Historiography
2021/22 Term 2
(tentative outline)
Lecture: Monday 2:30 – 4:15 pm
Venue: TBC (待確定)
Tutorial: Monday 4:30 – 5:15 pm
Venue: tbc
Lecturer: Prof. LIM Song Hwee 林松輝
Email: shlim@cuhk.edu.hk
Office: Room 213 Leung Kau Kui Building
Office tel: 39439872
Tutor: TBC
Email: TBC
1
AIMS
This module aims to familiarise students with the key works of the Taiwan New
Cinema movement and its legacy beyond Taiwan and into the twenty-first century. It
will explore not just the work of a wide array of film directors, but also the texts and
the condition of their production, distribution, exhibition and consumption within a
transnational framework, all of which impinge on the question of “national” film
historiography. It will examine, in particular: the socio-political background of the
emergence of the Taiwan New Cinema movement, its key directors and their works,
the international context of their reception and the transnational nature of their
production, and its legacy to date. It will provide students with an in-depth knowledge
of the work of selected film authors and an awareness of the cinematic, cultural, and
socio-political contexts in which they work, and enable students to analyse the work in
relation to questions of transnationality and historiography.
LEARNING AND TEACHING ACTIVITIES
Teaching is by a weekly lecture and tutorial. Lectures will introduce key concepts
and contextual background. Students will be expected to participate in discussions and
to prepare for group presentations in tutorials.
Lectures will be delivered in English and Cantonese; group presentation and tutorial
discussion can be conducted in English and/or Cantonese.
Tutorial plan: Please see separate document to be distributed in class.
ASSESSMENTS
• 10% - Class participation and attendance
• 20% - Tutorial presentation
• 70% - Essay
Grade Descriptor
A Outstanding performance on all learning outcomes.
A- Generally outstanding performance on all (or almost all) learning outcomes.
B Substantial performance on all learning outcomes, OR high performance on
some learning outcomes which compensates for less satisfactory performance
on others, resulting in overall substantial performance.
C Satisfactory performance on the majority of learning outcomes, possibly with a
few weaknesses.
D Barely satisfactory performance on a number of learning outcomes
F Unsatisfactory performance on a number of learning outcomes, OR failure to
meet specified assessment requirements.
2
SYLLABUS PLAN
Week 1 Taiwan Cinema Before “Taiwan New Cinema”
Week 2 The “Taiwan New Cinema” Movement
Week 3 Theories of Authorship
Week 4 No classes – LUNAR NEW YEAR holidays
Week 5 Authorship (I): Hou Hsiao-hsien
Week 6 Authorship (II): Edward Yang
Week 7 Authorship (III): Ang Lee
Week 8 Authorship (IV): Tsai Ming-liang
Week 9 Taiwan New Cinema as Soft Power
Week 10 The Aural Turn
Week 11 The Medial Turn
Week 12 The Industrial Turn
Week 13 No classes – Reading Week
Week 14 The Affective Turn
Week 15 No classes – Eastser Monday holiday
GENERAL READING LIST on TAIWAN CINEMA
Berry, Chris, and Lu, Feii (eds.) (2005) Island on the Edge: Taiwan New Cinema
and After. Hong Kong: Hong Kong University Press.
Berry, Michael (2005) Speaking in Images: Interviews with Contemporary Chinese
Filmmakers. New York: Columbia University Press.
Davis, Darrell William, and Chen, Ru-shou Robert (eds.) (2007) Cinema Taiwan:
Politics, Popularity and State of the Arts. London and New York:
Routledge.
Hong, Guo-Juin (2011) Taiwan Cinema: A Contested Nation on Screen. Basingstoke,
Hampshire: Palgrave Macmillan.
Lu, Tonglin (2007) Confronting Modernity in the Cinemas of Taiwan and Mainland
China. Cambridge: Cambridge University Press.
Wicks, James (2015) Transnational Representations: The State of Taiwan Film in the
1960s and 1970s. Hong Kong: Hong Kong University Press.
Wilson, Flannery (2014) New Taiwanese Cinema in Focus: Moving Within and Beyond
the Frame. Edinburgh: Edinburgh University Press.
*Yeh, Yueh-yu Emilie, and Davis, Darrell William (2005) Taiwan Film Directors: A
Treasure Island. New York: Columbia University Press.
Yip, June (2004) Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural
Imaginary. Durham: Duke University Press.
陳儒修 (1994) 台灣新電影的歷史文化經驗。台北：萬象。
焦雄屏編著 (1988) 台灣新電影。台北：時報文化。
焦雄屏編著 (2002) 台灣電影 90 新新浪潮。台北：麥田。
*焦雄屏著 (2018) 映像台灣。台北：蓋亞文化。
*盧非易 (1998) 台灣電影：政治，經濟，美學。台北：遠流。
迷走，梁新華編 (1991) 新電影之死：從《一切為明天》到《悲情城市》。台北：唐山。
迷走，梁新華編 (1994) 新電影之外／後。台北：唐山。
*葉 月 瑜 、 戴 樂 為 (2016)《 台 灣 電 影 百 年 漂 流 》 ， 台 北 ： 書 林 。
3
Honesty in Academic Work: A Guide for Students and Teachers
The Chinese University of Hong Kong places very high importance on honesty in academic
work submitted by students, and adopts a policy of zero tolerance on academic
dishonesty. While "academic dishonesty" is the overall name, there are several sub-
categories as follows:
(i) Plagiarism
(ii) Undeclared multiple submission
(iii) Cheating in tests and examinations
(iv) All other acts of academic dishonesty
Any related offence will lead to disciplinary action including termination of studies at the
University. Everyone should make himself/herself familiar with the content of this
website and thereby help avoid any practice that would not be acceptable:
https://www.cuhk.edu.hk/policy/academichonesty/
English: https://www.cuhk.edu.hk/policy/academichonesty/Eng_htm_files_(2013-
14)/index_page2.htm
中文：https://www.cuhk.edu.hk/policy/academichonesty/Chi_htm_files_(2013-
14)/index_page2.htm
All student assignments in undergraduate and postgraduate programmes should be
submitted via VeriGuide:
https://academic2.veriguide.org/portalcuhk/
4
WEEK 1 – 10th January 2022
TAIWAN CINEMA BEFORE “TAIWAN NEW CINEMA”
Recommended viewing:
A Touch of Zen (King Hu, 1971) 俠女（胡金銓）
Required reading:
*Taiwan Film Directors, “Introduction: Treasure Island”, and Chapter 1, “Parallel
Cinemas: Postwar History and Major Directors”.
《台灣電影百年漂流》，導論「寶島台灣」及第一章「平行電影：戰後影史及重要導演」
Udden, James (2007) “Taiwan”, in Mette Hjort and Duncan Petrie (eds.), The Cinema
of Small Nations, Edinburgh: Edinburgh University Press, pp. 144-159.
Further reading:
Berry, Chris (2009) “Re-writing Cinema: Markets, Languages, Cultures in Taiwan”, in
Fang-long Shih, Stuart Thompson and Paul-François Tremlett (eds.), Re-writing
Culture in Taiwan, Abington, Oxon: Routledge, pp. 140-153.
Farquhar, Mary (2003) “A Touch of Zen: Action in Martial Arts Movies”, in Chris Berry
(ed.), Chinese Films in Focus: 25 New Takes, London: BFI Publishing, 167-174.
Hong, Guo-Juin (2010) “Historiography of Absence: Taiwan Cinema Before New Cinema
1982”, Journal of Chinese Cinemas 4 (1): 5-14.
Horng, Menghsin C. (2010) “Domestic Dislocations: Healthy Realism, Stardom, and the
Cinematic Projection of Home in Postwar Taiwan”, Journal of Chinese Cinemas
4 (1): 27-43.
Teo, Stephen (2007) King Hu’s A Touch of Zen. Hong Kong: Hong Kong University Press.
5
WEEK 2 – 17th January 2022
THE “TAIWAN NEW CINEMA” MOVEMENT
Recommended viewing:
The Sandwich Man (Hou Hsiao-hsien, Zeng Zhuangxiang, Wan Ren, 1983) 兒子的大玩偶
（侯孝賢，曾壯祥，萬仁）
In Our Time (Ko I-cheng, Edward Yang, Chang Yi, 1982) 光陰的故事（柯一正，楊德昌，
張毅）
Required reading:
*Taiwan Film Directors, Chapter 2, “Challenges and Controversies of the Taiwan New
Cinema”.
《台灣電影百年漂流》，第二章「台灣新電影的挑戰與爭議」
Tweedie, James (2013) “Chapter 4, The Urban Archipelago: Taiwan’s New Wave and
the East Asian Economic Boom.” In The Age of New Waves: Art Cinema and the
Staging of Globalization. Oxford: Oxford University Press, pp. 143-177.
Further Reading
Berry, Chris and Lu, Feii (2005) “Introduction”, in Chris Berry and Feii Lu (eds.), Island
on the Edge: Taiwan New Cinema and After, Hong Kong: Hong Kong University
Press, pp. 1-12.
Hong, Guo-Juin (2011) Taiwan Cinema: A Contested Nation on Screen. Basingstoke,
Hampshire: Palgrave Macmillan. Chapter 4, “A Time to Live, A Time to Die:
New Taiwan Cinema and Its Vicissitudes, 1982-1986”, pp. 107-137.
Lu, Tonglin (2011) “Taiwan New Cinema and Its Legacy,” in Song Hwee Lim and Julian
Ward (eds.), The Chinese Cinema Book, London: BFI and Basingstoke,
Hampshire: Palgrave Macmillan, pp. 122-130.
Yip, June (2004) Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural
Imaginary. Durham: Duke University Press. Chapter 2, “Toward the
Postmodern: Taiwanese New Cinema and Alternative Visions of Nation”, pp. 49-
68.
6
WEEK 3 – 24th January 2022
THEORIES OF AUTHORSHIP
Recommended viewing:
《侯孝賢畫像》Portrait of Hou Hsiao-hsien (奧利弗．阿薩亞斯/Olivier Assayas, 1997)
Required reading:
*Buscombe, Edward (1981) “Ideas of Authorship.” In John Caughie (ed.) Theories of
Authorship. London: Routledge and Kegan Paul, pp. 22-34.
Grant, Catherine (2000) “www.auteur.com?” Screen 41 (1): 101-108.
Further reading:
Andrew, Dudley (2000) “The Unauthorized Auteur Today.” In Robert Stam and
Toby Miller (eds.) Film and Theory: An Anthology. Malden, Mass., USA, and
Oxford, UK: Blackwell Publishers, pp. 20-29.
Gerstner, David, and Staiger, Janet (eds.) (2003) Authorship and Film. New York:
Routledge.
Grant, Berry Keith (ed.) (2008) Auteurs and Authorship: A Film Reader. Malden, MA:
Blackwell Publishing.
Lim, Song Hwee (2007) “Positioning Auteur Theory in Chinese Cinemas Studies:
Intratextuality, Intertextuality and Paratextuality in the Films of Tsai Ming-
liang”, Journal of Chinese Cinemas 1 (3): 223-245.
Sarris, Andrew (2009) “Notes on the Auteur Theory in 1962.” In Leo Braudy and
Marshall Cohen (eds.) Film Theory and Criticism: Introductory Readings. New
York and Oxford: Oxford University Press, 7th edition, pp. 451-454.
Wexman, Virginia Wright (ed.) (2003) Film and Authorship. New Brunswick: Rutgers
University Press.
Wollen, Peter (2009) “The Auteur Theory.” In Leo Braudy and Marshall Cohen (eds.)
Film Theory and Criticism: Introductory Readings. New York and Oxford:
Oxford University Press, 7th edition, pp. 455-470.
7
WEEK 4 – 31st January 2022
No classes (Lunar New Year holiday)
WEEK 5 – 7th February 2022
AUTHORSHIP (I): HOU HSIAO-HSIEN
Recommended viewing:
A Time to Live, A Time to Die (Hou Hsiao-hsien, 1985) 童年往事（侯孝賢）
Three Times (Hou Hsiao-hsien, 2005) 最好的時光（侯孝賢）
Required reading:
*Taiwan Film Directors, Chapter 4, “Trisecting Taiwan Cinema with Hou Hsiao-hsien”,
pp. 133-176.
《台灣電影百年漂流》，第四章「侯孝賢三分台灣電影」
Udden, James (2009) No Man an Island: The Cinema of Hou Hsiao-hisen. Hong Kong:
Hong Kong University Press. Chapter 2, “Hou and the Taiwanese New Cinema”,
pp. 49-85. [Note: second edition, 2017]
Further reading:
Berry, Chris (2006) “From National Cinema to Cinema and the National: Chinese-
language Cinema and Hou Hsiao-Hsien’s ‘Taiwan Trilogy’”, in Valentina Vitali
and Paul Willemen (eds.), Theorising National Cinema, London: BFI Publishing,
pp. 148-157.
Berry, Michael (2005) Speaking in Images: Interviews with Contemporary Chinese
Filmmakers. New York: Columbia University Press. “Hou Hsiao-hsien with Chu
T’ien-wen: Words and Images”, pp. 234-271.
Bordwell, David (2005) Figures Traced in Light: On Cinematic Staging. Berkeley, Los
Angeles and London: University of California Press. Chapter 5, “Hou, or
Constraints”, pp. 186-237.
Neri, Corrado (2008) “A Time to Live, A Time to Die: A Time to Grow”, in Chris Berry
(ed.), Chinese Film in Focus II, London: BFI and Basingstoke, Hampshire:
Palgrave Macmillan, pp. 212-218.
Yeh, Emilie Yueh-yu (2005) “Poetics and Politics of Hou Hsiao-hsien’s Films”, in
Sheldon H. Lu and Emilie Yueh-yu Yeh (eds.) Chinese-Language Film:
Historiography, Poetics, Politics, Honolulu: University of Hawaii Press, pp. 163-
185.
8
WEEK 6 – 14th February 2022
AUTHORSHIP (II): EDWARD YANG
Recommended viewing:
The Terrorizers (Edward Yang, 1986) 恐怖份子（楊德昌）
Yi Yi: A One and a Two (Edward Yang, 2000) 一一（楊德昌）
Required Reading:
*Taiwan Film Directors, Chapter 3, “Navigating the House of Yang”, pp. 91-131.
《台灣電影百年漂流》，第三章「楊德昌屋間導覽」
Chang, Yvonne Sung-sheng (2005) “The Terrorizer and the Great Divide in
Contemporary Taiwan’s Cultural Development”, in Chris Berry and Feii Lu
(eds.), Island on the Edge: Taiwan New Cinema and After, Hong Kong: Hong
Kong University Press, pp. 13-25.
Further reading:
Anderson, John (2005) Edward Yang. Urbana and Chicago: University of Illinois Press.
Berry, Michael (2005) Speaking in Images: Interviews with Contemporary Chinese
Filmmakers. New York: Columbia University Press. “Edward Yang: Luckily
Unlucky”, pp. 272-295.
Jameson, Fredric (1994) “Remapping Taipei”, in Nick Browne et al (eds.), New Chinese
Cinemas: Forms, Identities, Politics, Cambridge: Cambridge University Press,
pp. 117-150.
Li, David Leiwei (2003) “Yi Yi: Reflections on Reflexive Modernity in Taiwan”, in Chris
Berry (ed.), Chinese Films in Focus: 25 New Takes, London: BFI Publishing, pp.
198-204.
Lu, Tonglin (2002) Confronting Modernity in the Cinemas of Taiwan and Mainland
China. Cambridge: Cambridge University Press. Chapter 4, “Melodrama of the
City”, pp. 116-154.
9
WEEK 7 – 21st February 2022
AUTHORSHIP (III): ANG LEE
Recommended viewing:
Eat Drink Man Woman (Ang Lee, 1994) 飲食男女（李安）
Lust, Caution (Ang Lee, 2007) 色，戒（李安）
Required reading:
*Taiwan Film Directors, Chapter 5, “Confucianizing Hollywood: Films of Ang Lee”, pp.
177-216.
《台灣電影百年漂流》，第五章「儒化好萊塢：李安的電影」
Dariotis, Wei Ming and Fung, Eileen (1997) “Breaking the Soy Sauce Jar: Diaspora and
Displacement in the Films of Ang Lee”, in Sheldon Hsiao-peng Lu (ed.),
Transnational Chinese Cinemas: Identity, Nationhood, Gender. Honolulu:
University of Hawaii Press, pp. 187-220.
Further reading:
Berry, Michael (2005) Speaking in Images: Interviews with Contemporary Chinese
Filmmakers. New York: Columbia University Press. “Ang Lee: Freedom in Film”,
pp. 324-361.
Dilley, Whitney Crothers (2007) The Cinema of Ang Lee: The Other Side of the Screen.
London: Wallflower. Chapter 5, “Globalisation and Cultural Identity in Eat
Drink Man Woman”, pp. 71-82. [Note: second edition, 2014]
Lee, Haiyan (2010) “Enemy under My Skin: Eileen Chang’s Lust, Caution and the
Politics of Transcendence”, PMLA 125 (3): 640-656.
Shih, Shu-mei (2007) Visuality and Identity: Sinophone Articulations Across the
Pacific. Berkeley: University of California Press. Chapter 1, “Globalization and
Minoritization”, pp. 40-61.
Wei, Ti (2005) “Generational/Cultural Contradictions and Global Incorporation: Ang
Lee’s Eat Drink Man Woman”, in Chris Berry and Feii Lu (eds.), Island on the
Edge: Taiwan New Cinema and After, Hong Kong: Hong Kong University Press,
pp. 101-112.
10WEEK 8 – 28th February 2022
AUTHORSHIP (IV): TSAI MING-LIANG
Recommended viewing:
Vive L’amour (Tsai Ming-liang, 1994) 愛情萬歲（蔡明亮）
Goodbye, Dragon Inn (Tsai Ming-liang, 2003) 不散（蔡明亮）
Required Reading:
*Taiwan Film Directors, Chapter 6, “Camping Out with Tsai Ming-liang”, pp. 217-248.
《台灣電影百年漂流》，第六章「和蔡明亮一起坎普」
Martin, Fran (2003) “Vive L’amour: Eloquent Emptiness”, in Chris Berry (ed.), Chinese
Films in Focus: 25 Takes, London: BFI, pp. 175-182.
Further reading:
Berry, Michael (2005) Speaking in Images: Interviews with Contemporary Chinese
Filmmakers. New York: Columbia University Press. “Tsai Ming-liang: Trapped in
the Past”, pp. 362-397.
Betz, Mark (2006) “The Cinema of Tsai Ming-liang: A Modernist Genealogy”, in Maria N.
Ng and Philip Holden (eds.), Reading Chinese Transnationalisms: Society,
Literature, Film, Hong Kong: Hong Kong University Press, pp. 161-172.
Chan, Kenneth (2007) “Goodbye, Dragon Inn: Tsai Ming-liang’s Political Aesthetics of
Nostalgia, Place, and Lingering.” Journal of Chinese Cinemas 1 (2): 89-103.
Journal of Chinese Cinemas (2007) Special issue on Tsai Ming-liang, Vol. 1, no. 2.
_____ (2011) Special issue on Tsai Ming-liang, Vol. 5, no. 2.
Lim, Song Hwee (2006) Celluloid Comrades: Representations of Male Homosexuality in
Contemporary Chinese Cinemas. Honolulu: University of Hawaii Press. Chapter
5, “Confessing Desire: The Poetics of Tsai Ming-liang’s Queer Cinema”, pp. 126-
152.
Ma, Jean (2010) Melancholy Drift: Marking Time in Chinese Cinema. Hong Kong: Hong
Kong University Press. Chapter 3, “The Post-Classical Art Film”, pp. 73-94, and
Chapter 4, “The Haunted Movie Theater”, pp. 95-122.
Rehm, Jean-Pierre, Olivier Joyard, and Danièle Rivière. 1999. Tsai Ming-liang. Paris:
Dis Voir.
11WEEK 9 – 7th March 2022
TAIWAN NEW CINEMA AS SOFT POWER
Recommended viewing:
紀錄片《光陰的故事：台灣新電影》（謝慶鈴, 2014）
紀錄片《白鴿計劃》（蕭菊貞，2002）英文片名 Our Time, Our Story 收錄於 Criterion
版楊德昌電影 A Brighter Summer Day（牯嶺街少年殺人事件）DVD
Required Reading
*Lim, Song Hwee (2013) “Taiwan New Cinema: Small Nation with Soft Power”, in
Carlos Rojas and Eileen Cheng-yin Chow (eds.), The Oxford Handbook of
Chinese Cinemas. New York: Oxford University Press, pp. 152-169.
Voci, Paola, and Luo Hui (2018) “Screening China’s soft power: Screen cultures
and discourses of power”, in Paola Voci and Luo Hui (eds.), Screening China’s
Soft Power. Abingdon, Oxon: Routledge, pp. 1–18.
Further reading:
Chitty, Naren (2017) ‘Introduction’, in N. Chitty, L. Ji, G. D. Rawnsley, and C. Hayden
(eds.) The Routledge Handbook of Soft Power. Abingdon, Oxon and New York,
NY: Routledge, pp. 1–6.
Chua, Beng Huat (2012) Structure, Audience and Soft Power in East Asian Pop
Culture. Hong Kong: Hong Kong University Press.
Nye, Joseph S., Jr. (2004) Soft Power: The Means to Success in World Politics. New
York: Public Affairs.
王耿瑜編 (2015) 《光陰之旅：台灣新電影在路上》。台北：台北市文化局。
Zhang, Yingjin (2018) “Afterword: Shifting perspectives on soft power and Chinese
Screens”, in Paola Voci and Luo Hui (eds.), Screening China’s Soft Power.
Abingdon, Oxon: Routledge, pp. 252–60.
12WEEK 10 – 14th March 2022
THE AURAL TURN
Recommended viewing:
Flight of the Red Balloon (Hou Hsiao-hsien, 2007) 紅氣球的旅行（侯孝賢）
Café Lumière (Hou Hsiao-hsien, 2003) 咖啡時光（侯孝賢）
Required Reading
*Lim, Song Hwee (2014) “The Voice of the Sinophone.” In Audrey Yue and Olivia Khoo
(eds.) Sinophone Cinemas. Basingstoke, Hampshire: Palgrave Macmillan, pp.
62-76.
Shingler, Martin (2006) “Fasten Your Seatbelts and Prick Up Your Ears: The Dramatic
Human Voice in Film.” Scope: An Online Journal of Film & TV Studies 5 (June).
Available online: http://www.nottingham.ac.uk/scope/documents/2006/june-
2006/shingler.pdf
Further reading:
Bloom, Michelle E. (2016) Contemporary Sino-French Cinemas: Absent Fathers,
Banned Books, and Red Balloons. Honolulu: University of Hawaii Press. See
chapter 3.
Dargis, Manohla (2008) “Another Balloon Over Paris, With Lives Adrift Below”, The
New York Times (April 4),
http://movies.nytimes.com/2008/04/04/movies/04ball.html.
Hoberman, J. (2008) “Flight of the Red Balloon Soars.” Village Voice (1 April).
http://www.villagevoice.com/2008-04-01/film/floating-life/.
Lim, Song Hwee (2016) “Domesticating Time: Gendered Temporalities in Hou Hsiao-
hsien’s Café Lumière”, Frontiers of Literary Studies in China 10 (1): 36-57.
Lupke, Christopher (2016) The Sinophone Cinema of Hou Hsiao-hsien: Culture,
Style, Voice, and Motion. Amherst, New York: Cambria Press.
McKibbin, Tony (2006) “Situations over Stories: Café Lumière and Hou Hsiao-
Hsien.” Senses of Cinema (June).
http://www.sensesofcinema.com/contents/06/39/cafe_lumiere.html
13WEEK 11 – 21st March 2022
THE MEDIAL TURN
Recommended viewing:
Journey to the West (Tsai Ming-liang, 2014) 西遊（蔡明亮）
Visage (Tsai Ming-liang, 2009) 臉（蔡明亮）
Required Reading
Dercon, Chris (2002) “Gleaning the Future.” Vertigo 2 (2).
https://www.closeupfilmcentre.com/vertigo_magazine/volume-2-issue-2-
spring-2002/gleaning-the-future/.
*Lim, Song Hwee (2017) “Walking in the City, Slowly: Spectacular Temporal Practices
in Tsai Ming-liang’s ‘Slow Walk, Long March’ Series”, Screen 58 (2): 180-196.
Further reading:
Balsom, Erika (2013) Exhibiting Cinema in Contemporary Art. Amsterdam:
Amsterdam University Press.
Fujishima, Kenji (2014) Review of Journey to the West. Slant Magazine, 17 April.
http://www.slantmagazine.com/film/review/journey-to-the-west-2014
Lim, Song Hwee (2014) Tsai Ming-liang and a Cinema of Slowness. Honolulu: University
of Hawaii Press. 中文版《蔡明亮與緩慢電影》，臺北：臺大出版中心，2016.
Rees, A. L. (2011) “Expanded Cinema and Narrative: A Troubled History.” In A.L.
Rees, Duncan White, Steven Ball and David Curtis (eds.) Expanded Cinema: Art,
Performance, Film. London: Tate Publishing, pp. 12-21.
Schoonover, Karl (2012) “Wastrels of Time: Slow Cinema’s Laboring Body, the
Political Spectator, and the Queer.” Framework 53 (1): 65-78.
Uroskie, Andrew V. (2014) Between the Black Box and the White Cube: Expanded
Cinema and Postwar Art. Chicago: The University of Chicago Press.
14WEEK 12 – 28th March 2022
THE INDUSTRIAL TURN
Recommended viewing:
Life of Pi (Ang Lee, 2011)
The Ice Storm (Ang Lee, 1997)
Required Reading
Dinnie, Keith. 2011. “Chapter 1: Introduction to the Theory of City Branding” and
“Chapter 11: Introduction to the Practice of City Branding.” In City Branding:
Theory and Cases, edited by Keith Dinnie. Basingstoke, Hampshire: Palgrave
Macmillan, pp. 3-7, 93-98.
*Lim, Song Hwee (2011) “Speaking in Tongues: Ang Lee, Accented Cinema,
Hollywood”, in Lúcia Nagib, Chris Perriam and Rajinder Dudrah (eds.),
Theorizing World Cinema, London: I.B. Tauris, pp. 129-144.
Further reading:
Braester, Yomi (2005) “Chinese Cinema in the Age of Advertisement: The Filmmaker as
a Cultural Broker.” The China Quarterly 183: 549-564.
Chan, Kenneth (2012) “‘Asia’ as Global Hollywood Commodity.” In Cynthia Lucia, Roy
Grundmann, and Art Simon (eds.). The Wiley-Blackwell History of American
Film, volume 4. Oxford, U.K. and Malden, MA: Wiley-Blackwell, pp. 406-426.
Corrigan, Timothy (1990) “The Commerce of Auteurism: A Voice without Authority.”
New German Critique 49: 43-57.
Pidduck, Julianne (2006) “The Transnational Cinema of Ang Lee”, in Dimitris
Eleftheriotis and Gary Needham (eds.), Asian Cinemas: A Reader & Guide,
Edinburgh: Edinburgh University Press, pp. 393-403.
WEEK 13 – 4th April 2022
NO CLASS - READING WEEK
15WEEK 14 – 11th April 2022
THE AFFECTIVE TURN
Recommended viewing:
Blue Gate Crossing (Yee Chih-yen, 2002) 藍色大門（易智言）
Cape No. 7 (Wei Te-sheng, 2008) 海角七號（魏德聖）
Required Reading
Harding, Jennifer, and Pribram, E. Deidre (2009) “Introduction: The Case for a
Cultural Emotion Studies.” In Emotions: A Cultural Studies Reader, edited by
Jennifer Harding and E. Deidre Pribram. London and New York: Routledge, pp.
1-23.
*Lim, Song Hwee ) “Citizen-to-citizen Connectivity and Soft Power: The Appropriation
of Subcultures in ‘Little Freshness’ Across the Taiwan Strait”, China
Information 33 (3): 294-310.
Further reading:
Ahmed, Sara (2014) The Cultural Politics of Emotion, 2nd edition. Edinburgh: Edinburgh
University Press.
Chiu, Kuei-fen, Ming-yeh T. Rawnsley, and Gary D. Rawnsley (eds.) (2017)Taiwan
Cinema: International Reception and Social Change. Abingdon, Oxon:
Routledge.
Leys, Ruth (2011) “The Turn to Affect: A Critique.” Critical Inquiry 37 (3): 434-472.
Seigworth, Gregory J., and Gregg, Melissa (2010) “An Inventory of Shimmers.” In
Melissa Gregg and Gregory J. Seigworth (eds.) The Affect Theory Reader.
Durham and London: Duke University Press, pp. 1–25.
Stewart, Kathleen (2007) Ordinary Affects. Durham and London: Duke University
Press.
郭力昕 (2009) ，收錄於《2009
台灣電影年鑑》，台北：財團法人國家電影資料館，頁 53-57。
WEEK 15 – 18th April 2022
NO CLASS – EASTER MONDAY
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