Frontmatter

Chapters in this book

1. Frontmatter iii
2. CONTENTS v
3. LIST OF ILLUSTRATIONS vi
4. ACKNOWLEDGEMENTS vii
5. TRADITIONS IN WORLD CINEMA xi
6. INTRODUCTION 1
7. 1. CHARTING THE COURSE: DEFINING THE TAIWANESE CINEMATIC ‘TRADITION’ 14
8. 2. TAIWANESE–ITALIAN CONJUGATIONS: THE FRACTURED STORYTELLING OF EDWARD YANG’S THE TERRORIZERS AND MICHELANGELO ANTONIONI’S BLOW-UP 47
9. 3. MAPPING HOU HSIAO-HSIEN’S VISUALITY: SETTING, SILENCE AND THE INCONGRUENCE OF TRANSLATION IN FLIGHT OF THE RED BALLOON 76
10. 4. TSAI MING-LIANG’S DISJOINTED CONNECTIVITY AND LONELY INTERTEXTUALITY 97
11. 5. THE CHINESE/HOLLYWOOD AESTHETIC OF ANG LEE: ‘WESTERNIZED’, CAPITALIST . . . AND BOX OFFICE GOLD 126
12. 6. FILMING DISAPPEARANCE OR RENEWAL? THE EVER-CHANGING REPRESENTATIONS OF TAIPEI IN CONTEMPORARY TAIWANESE CINEMA 150
13. CONCLUSION 165
14. BIBLIOGRAPHY 170
15. FILMOGRAPHY 177
16. INDEX 179