Podcasts about hou hsiao

I denne episoden snakker vi om film fra Taiwan i anledning Cinemateket i Oslo sin visningsserie Taiwanske bølger, og setter Tsai Ming-liangs spillefilmdebut Rebels of the Neon God (1992) i sentrum for samtalen. Hou Hsiao-hsien er ved siden av Edward Yang den viktigste filmskaperen i Taiwans nye bølge, som sprang ut av en gruppe unge regissører og manusforfattere i Taipei tidlig på 1980-tallet. (Her kan dere høre vår episode om Yangs Taipei Story.) På 1990-tallet, i den "neste" bevegelsen i bølgen, skrev den ti år yngre Tsai Ming-liang seg inn i toppsjiktet. Ikke bare fikk han en brakdebut med Rebels of the Neon God (1992), men han vant Gulløven i Venezia allerede for andrefilmen, Vive L'Amour (1994), og fulgte opp med flere markante filmer innover på 2000-tallet, bl.a. Goodbye, Dragon Inn (les vår sak) og The Wayward Cloud. Vi diskuterer hvordan Yang, Hou og Tsai representerer både fellestrekk og ulike innganger til noen av den nye taiwanske filmens særegenheter, og ved siden av Montages-redaktørene Karsten Meinich og Lars Ole Kristiansen gjør manusforfatter og skuespiller Tarjei Sandvik Moe sin Filmfrelst-debut i panelet – og forteller bl.a. om helt ferske møter med klassikere som A Brighter Summer Day og Yi Yi, som han har sett for første gang i anledning Cinematekets pågående retrospektiv. God lytting!

Join us as we delve deeper into our series on Taiwanese auteur Edward Yang, as we take a step back to explore one of his earliest features, "Taipei Story" (青梅竹馬) from 1985. In this film, Yang collaborates with his compatriot Hou Hsiao-hsien to portray a city undergoing monumental change. Ben explores the social, cultural, and economic uniqueness of this period in East Asia. Eli draws intriguing parallels between this movie and the various renditions of A Star is Born. Wilson raises questions about Yang's choice to incorporate violence as a punctuation to his endings. Conversation with Hou Hsiao-hsien and Edmond Wong about Taipei Story Play ball at our FREE patreon, discord server, and our socials @ www.deepcutpod.com

Tratamos da Nova Onda do cinema taiwanês, ressaltando a obra dos diretores Hou Hsiao-hsien e Edward Yang, além da escritora Chu T'ien-wen. Outros assuntos tratados: Hsin-Chi, cinema taiyupian, influência do cinema japonês e honconguense sobre Taiwan, além do impacto da sétima arte taiwanesa sobre o trabalho do mestre Hayao Miyazaki. Referências: Chen, Ru-Shou R. & Davis, D. W. (ed.) Cinema Taiwan. Politics, popularity and state of the arts. London: Routledge, 2007. Ferreira, Clarissa. Os contemporâneos de Chihiro e Totoro (2020). http://sentaai.com/os-contemporaneos-de-chihiro-e-totoro/ Lupke, Christopher. The Sinophone Cinema of Hou Hsiao-Hsien. Culture, Style, Voice, and Motion. Amherst: Cambria Press, 2016. Marques, Luisa (org.). Hou Hsiao-Hsien e o cinema de memórias fragmentadas. CCBB, 2010. Taiwan Film Institute. Dangerous Youth 危險的青春. 2010. Tsai, Beth. Taiwan New Cinema at Film Festivals. Edinburgh: Edinburgh University Press, 2023. Wilson, Flannery. New Taiwanese Cinema in Focus. Moving within and beyond the frame. Edinburgh: Edinburgh University Press, 2014. A Conversação [podcast], ed. 74 (2017). Acesso em: https://open.spotify.com/episode/6z5tsUTfJYLXrg5xbZCH7J

https://notesonfilm1.com/2024/02/12/thinking-aloud-about-film-out-of-the-blue-chen-kun-hou-taiwan-1983/ We continue our discussion of the GOLDEN DECADES: CINEMATIC MASTERS OF THE GOLDEN HORSE AWARDS with a chat on OUT OF THE BLUE (Chen Kun-Hou, Taiwan, 1983). A fascinating film to discuss in relation to all our previous podcasts on Taiwanese Cinema and Hou Hsiao-hsien; a film directed by Chen Kun-hou, the cinematographer on Hou Hsiao-hsien's early films such as THE GREEN, GREEN GRASS OF HOME (1982) and THE BOYS FROM FENGKUEI (1983). Chen Kun-hou is also the cinematographer on HE NEVER GIVES UP (LEE HSING, 1978), and of course Hou Hsia-hsien was the co-writer on GROWING PAINS (1983) and this one. These films also share writer, Chu T'ien-wen (the screenwriter) who went on to co-write most of Hou Hsia-hsien's films, this one based on a novel by Chu T'ien-wen's sister, Chu T'ien-hsin. Collectively ork that evokes an outpouring of creativity but as part of a circle of collaborators. And this particular film seems a turning point from the healthy realist cinema that was and the comedies and musicals that followed to what would become known as New Taiwanese Cinema. A key film, released just after BOYS FROM FENGKUEI; A film that takes its time, the camera lingers, yet never feels long, a story gently told about young love in trouble, filial duty, ties to family, small transgressions. Aspects bring to mind BEFORE SUNRISE (Richard Linklater, 1995) Arguably, one can't understand New Taiwanese Cinema well without having a context; and this series is a shortcut to that context, the virtue is that it's preselected, the films that that national industry thought the best; and within THAT, OUT OF THE BLUE is arguably the key film of that transition.

Mambo No.4(K)...In this episode, Joe is joined (again) by Caroline Tranberg to talk about Hou Hsiao-Hsien's 2001 'Millenium Mambo'. They talk about the plight of the main character and the relatability of 'slice of life' films, and discuss the efforts of film restoration, including Martin Scorcese's efforts, Norske Filmklassikere, and the work and life of Leon Vitali.--------The whole RSS feed is available here > https://rss.com/podcasts/thereelthingThe Reel Thing on Social Media:Instagram > https://www.instagram.com/thereelthingpod---------All music by Wise John. https://wisejohn.com/Follow them on Instagram > https://www.instagram.com/wisejohnofficial/---------Bergen Filmklubb > https://bergenfilmklubb.no/Norske Filmklassikere (Restoration Project) > https://www.facebook.com/groups/norskefilmklassikereArticle about > https://montages.no/nyheter/vi-ma-eie-var-egen-filmhistorie-christer-falck-vil-utgi-norske-filmklassikere-pa-fysisk-format/---------References:https://www.nytimes.com/2022/12/22/movies/millennium-mambo-hou-hsiao-hsien.htmlhttps://en.wikipedia.org/wiki/Hou_Hsiao-hsienhttps://en.wikipedia.org/wiki/Film_preservation

Questo e gli altri podcast gratuiti del Post sono possibili grazie a chi si abbona al Post e ne sostiene il lavoro. Se vuoi fare la tua parte, abbonati al Post. Se un alieno scendesse sulla Terra e leggesse i giornali e guardasse i telegiornali e i siti di news delle ultime due settimane, una cosa che potrebbe chiedersi è: ma perché tutti hanno dedicato così tanta attenzione alle elezioni a Taiwan? Con Lorenzo Lamperti, direttore editoriale del sito China Files. I consigli di Lorenzo Lamperti – La serie tv "Wave Makers", su Netflix – Il film "Città dolente" di Hou Hsiao-hsien – "Membrana" di Chi Ta-wei Taiwan sul Post – Che rapporto hanno Taiwan e la Cina  – L'eclettico populista Ko Wen-je ha idee ambigue sulla politica taiwanese, e molto potere  – Perché gli Stati Uniti tengono tanto a Taiwan  – Cosa fare con i dittatori morti  Learn more about your ad choices. Visit megaphone.fm/adchoices

Oggi, dopo aver fatto un excursus della filmografia, analizziamo due opere di Hou Hsiao-hsien: Millennium Mambo (2001) e The Assassin (2015), caratterizzate da una forte complessità narrativa e da uno sguardo distaccato privo di giudizi morali.

Taiwan New Cinema (first wave, 1982–1989; second wave, 1990 onward) has a unique history regarding film festivals, particularly in the way these films are circulated at major European film festivals. It shares a common formalist concern about cinematic modernism with its Western counterparts, departing from previous modes of filmmaking that were preoccupied with nostalgically romanticizing China's image. Through utilising in-depth case studies of films by Taiwan-based directors: Tsai Ming-liang, Zhao Deyin and Hou Hsiao-hsien, Tsai discusses how Taiwan New Cinema represents a struggling configuration of the ‘nation', brought forth by Taiwan's multilayered colonial and postcolonial histories. Taiwan New Cinema at Film Festivals (Edinburgh UP, 2023) presents the conditions that have led to the production of a national cinema, branding the auteur, and examines shifting representations of cultural identity in the context of globalization. Beth Tsai is Visiting Assistant Professor in Film Studies at the University at Albany–State University of New York. Her research focuses primarily on the cinema of Taiwan, film festivals, and transnational film theory. She has published in the International Journal of Asia Pacific Studies, Quarterly Review of Film and Video, Journal of Asian Cinema, and Oxford Bibliographies. Li-Ping Chen is Dornsife Teaching Fellow in General Education in Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Taiwan New Cinema (first wave, 1982–1989; second wave, 1990 onward) has a unique history regarding film festivals, particularly in the way these films are circulated at major European film festivals. It shares a common formalist concern about cinematic modernism with its Western counterparts, departing from previous modes of filmmaking that were preoccupied with nostalgically romanticizing China's image. Through utilising in-depth case studies of films by Taiwan-based directors: Tsai Ming-liang, Zhao Deyin and Hou Hsiao-hsien, Tsai discusses how Taiwan New Cinema represents a struggling configuration of the ‘nation', brought forth by Taiwan's multilayered colonial and postcolonial histories. Taiwan New Cinema at Film Festivals (Edinburgh UP, 2023) presents the conditions that have led to the production of a national cinema, branding the auteur, and examines shifting representations of cultural identity in the context of globalization. Beth Tsai is Visiting Assistant Professor in Film Studies at the University at Albany–State University of New York. Her research focuses primarily on the cinema of Taiwan, film festivals, and transnational film theory. She has published in the International Journal of Asia Pacific Studies, Quarterly Review of Film and Video, Journal of Asian Cinema, and Oxford Bibliographies. Li-Ping Chen is Dornsife Teaching Fellow in General Education in Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Taiwan New Cinema (first wave, 1982–1989; second wave, 1990 onward) has a unique history regarding film festivals, particularly in the way these films are circulated at major European film festivals. It shares a common formalist concern about cinematic modernism with its Western counterparts, departing from previous modes of filmmaking that were preoccupied with nostalgically romanticizing China's image. Through utilising in-depth case studies of films by Taiwan-based directors: Tsai Ming-liang, Zhao Deyin and Hou Hsiao-hsien, Tsai discusses how Taiwan New Cinema represents a struggling configuration of the ‘nation', brought forth by Taiwan's multilayered colonial and postcolonial histories. Taiwan New Cinema at Film Festivals (Edinburgh UP, 2023) presents the conditions that have led to the production of a national cinema, branding the auteur, and examines shifting representations of cultural identity in the context of globalization. Beth Tsai is Visiting Assistant Professor in Film Studies at the University at Albany–State University of New York. Her research focuses primarily on the cinema of Taiwan, film festivals, and transnational film theory. She has published in the International Journal of Asia Pacific Studies, Quarterly Review of Film and Video, Journal of Asian Cinema, and Oxford Bibliographies. Li-Ping Chen is Dornsife Teaching Fellow in General Education in Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Taiwan New Cinema (first wave, 1982–1989; second wave, 1990 onward) has a unique history regarding film festivals, particularly in the way these films are circulated at major European film festivals. It shares a common formalist concern about cinematic modernism with its Western counterparts, departing from previous modes of filmmaking that were preoccupied with nostalgically romanticizing China's image. Through utilising in-depth case studies of films by Taiwan-based directors: Tsai Ming-liang, Zhao Deyin and Hou Hsiao-hsien, Tsai discusses how Taiwan New Cinema represents a struggling configuration of the ‘nation', brought forth by Taiwan's multilayered colonial and postcolonial histories. Taiwan New Cinema at Film Festivals (Edinburgh UP, 2023) presents the conditions that have led to the production of a national cinema, branding the auteur, and examines shifting representations of cultural identity in the context of globalization. Beth Tsai is Visiting Assistant Professor in Film Studies at the University at Albany–State University of New York. Her research focuses primarily on the cinema of Taiwan, film festivals, and transnational film theory. She has published in the International Journal of Asia Pacific Studies, Quarterly Review of Film and Video, Journal of Asian Cinema, and Oxford Bibliographies. Li-Ping Chen is Dornsife Teaching Fellow in General Education in Department of East Asian Languages and Cultures at the University of Southern California. Her research interests include literary translingualism, diaspora, and nativism in Sinophone, inter-Asian, and transpacific contexts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/chinese-studies

This week on Sinica, something different: Kaiser asks over a dozen scholars of various facets of China studies to talk about their work and make some recommendations! You'll hear from a variety of scholars, from MA students to tenured professors, talking about a bewildering range of fascinating work they're doing. Enjoy!3:00 – Kristin Shi-Kupfer — recommendations: this essay (in Chinese) by Teng Biao on Chinese Trump supporters; Han Rongbin's work on digital society; and Yang Guobin's work on digital expression on the internet in China.7:48 – Lev Nachman — recommendation: Ian Rowen, One China, Many Taiwans: The Geopolitics of Cross-Strait Tourism; and the city of Taichung, and especially its night market food on Yizhong Street and the Fang Chia Night market.9:27 – Lin Zhang — recommendation: Victor Seow, Carbon Technocracy: Energy Regimes in Modern East Asia; and Gary Gertle, American Crucible: Race and Nation in the 20th Century15:32 – Maura Dykstra — recommendation: Richard von Glahn's contribution to the Oxford History of Modern China about registration in imperial China19:00 – Jonathan Elkobi — a Rand Corporation study on economic cooperation between Israel and China; the fusion band Snarky Puppy22:22 – Seiji Shirane — Seediq Bale (Warriors of the Rainbow) and Lust, Caution25:18 – Zhu Qian — Rebecca Karl, Staging the World: Chinese Nationalism at the Turn of the 20th Century, and two films: Hou Hsiao-hsien's A City of Sadness and Jia Zhangke's A Touch of Sin31:23– Fabio Lanza — Sarah Mellors Rodriguez, Reproductive Realities in Modern China: Birth Control and Abortion, 1911–2021; and Leopoldina Fortunati, The Arcane of Reproduction: Housework, Prostitution, Labor and Capital by Leopoldina Fortunati 33:04 – Catherine Tsai —:Hiroko Matsuda's The Liminality of the Japanese Empire34:46– Lena Kaufmann — Technology and Gender: Fabrics of Power in Late Imperial China and other works by Francesca Bray39:05 – Josh Freeman — Works of Uyghur poetry by Ghojimuhemmed Muhemmed, Ekhmetjan Osman, Tahir Hamut Izgil, Perhat Tursun, Dilkhumar Imin, Abide Abbas Nesrin, Erkan Qadir, and Muyesser Abdul'ehed Hendan.41:32 – Susan McCarthy — Joanna Handlin Smith, The Art of Doing Good: Charity in Late Ming China49:18 – Brian DeMare — William Hinton, Fanshen50:47 – Juliet Lu — Maria Repnikova, Chinese Soft Power, and Samuel L. Jackson reading Adam Mansbach's Go the F--k to Sleep 58:29 – Sabina Knight — Wu Ming-Yi, The Man with the Compound Eyes, translated by Darryl SterkA complete transcript of this podcast is available at TheChinaProject.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this week's Acteurist Oeuvre-view, we look at two very different Dorothy McGuire movies from 1946 that share a striking adultness: Claudia and David (directed by Walter Lang), a marital comedy that's surprisingly frank about infidelity, and Till the End of Time (directed by Edward Dmytryk), a "post-war readjustment" movie that's surprisingly frank about sexuality in general, as well as American alienation and ennui. We make our first real stab at describing the essential qualities McGuire brings to daffy ingenue and jaded older woman roles alike. And speaking of alienation and ennui, in Fear and Moviegoing in Toronto we discuss another experimental narrative film by Hou Hsiao-hsien, Millennium Mambo (2001).    Time Codes: 0h 0m 45s:        CLAUDIA AND DAVID (1946) [dir. Walter Lang] 0h 33m 33s:      TILL THE END OF TIME (1946) [dir. Edward Dmytryk] 1h 19m 00s:      Fear & Moviegoing In Toronto – MILLENNIUM MAMBO (2001) by Hou Hsiao-hsien   +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

A critical figure in queer Sinophone cinema, Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. A new book by Nicholas de Villiers, CRUISY, SLEEPY, MELANCHOLY, offers a fascinating, systematic method for analyzing the queerness of Tsai's films and reveals striking connections between sexuality, space, and cinema. Here, the author is joined in conversation with Beth Tsai. Nicholas de Villiers is professor of English and film at the University of North Florida.Beth Tsai is visiting assistant professor of East Asian Languages & Cultural Studies at the University of California, Santa Barbara.REFERENCES:Books by Nicholas de Villiers (all with University of Minnesota Press):-Cruisy, Sleepy, Melancholy: Sexual DIsorientation in the Films of Tsai Ming-liang-Sexography: Sex Work in Documentary-Opacity and the Closet: Queer Tactics in Foucault, Barthes, and WarholBook by Beth Tsai:-Taiwan New Cinema at Film Festivals (Edinburgh University Press)Tsai Ming-liang films:-No No Sleep-Stray Dogs-Goodbye, Dragon Inn-Vive L'Amour-I Don't Want to Sleep Alone-Rebels of the Neon God-The Wayward Cloud-It's a Dream-The Hole-Face (Visage)-What TIme Is It There?-DaysOther films:-Saw Tiong Guan / Past Present (documentary)-Fred Barney Taylor / The Polymath -Elizabeth Purchell / Ask Any Buddy (podcast: https://www.ask-any-buddy.com/podcast)-Hou Hsiao-hsien / Le Voyage du Ballon Rouge-Hou Hsiao-hsien / Café Lumière-Albert Lamorisse / Le Ballon Rouge-Wong Kar-wai / Chungking Express-Jon M. Chu / Crazy Rich Asians-Peter Wang / A Great Wall-Edward Yang / The TerrorizersResearch, persons, publications:-Song Hwee Lim / Tsai Mingliang and the Cinema of Slowness-François Truffaut-Elena Pollacchi-Samuel Delany / Times Square Red, Times Square Blue -José Esteban Muñoz / Cruising Utopia-John Paul Ricco / The Logic of the Lure-Alex Espinoza / Cruising: An Intimate History of a Radical Pasttime-Roland Barthes-Elena Gorfinkel's public lecture: Cinema, the Soporific: Between Exhaustion and Eros-Jean Ma / At the Edges of Sleep-Marcel Proust / Swann's Way-Jean Ma / Melancholy Drift-Jonathan Flatley's work on melancholia and modernism-Judith Butler-Douglas Crimp-Anne Cvetkovich / Depression: A Public Feeling-David Eng-Anne Anlin Cheng-Shi-Yan Chao / Queer Representations in Chinese-language Film and the Cultural Landscape-Sianne Ngai-Christopher Lupke / The Sinophone Cinema of Hou Hsiao-hsien-Zhu Tianwen-Emilie Yueh-Yu Yeh and Darrell Williams Davis / Thirty-Two New Takes on Taiwan Cinema-David Lynch-Sara Ahmed / Queer Phenomenology-Michel de Certeau-Fran Martin-The Metropolitan Museum of Art's Camp: Notes on Fashion-Susan Sontag on camp-Esther Newton / Mother Camp-Jonathan Te-hsuan Yeh-Emilie Yueh-Yu Yeh and Darrell William Davis, “Camping Out with Tsai Ming-liang”-Stray Dogs at the Museum: Tsai Ming-liang Solo Exhibition -Fran Martin, “Introduction: Tsai Ming-liang's intimate public worlds,” Journal of Chinese Cinemas Vol. 1 No. 2.-Eve Sedgwick's idea of camp as a form of reparative reading-Tom Roach / Friendship as a Way of Life-Rey Chow / Writing Diaspora-Michelle Bloom-Fran Martin, “The European Undead: Tsai Ming-liang's Temporal Dysphoria,” Senses of Cinema (https://www.sensesofcinema.com/2003/feature-articles/tsai_european_undead/) 

In this very special Warners 1942 episode we discuss two Dave faves, both starring (and romantically pairing) Ann Sheridan and Ronald Reagan, that push against the restrictions of the Production Code: Sam Wood's Peyton Place/Twin Peaks forerunner, Kings Row, and Curtis Bernhardt's noirish agrarian socialist drama, Juke Girl. We dive deep into Kings Rows' Freud-and-Emerson-steeped advocacy of a less repressed and hypocritical society and Juke GIrl's utopic/dystopic vision of humanity. And in Fear and Moviegoing in Toronto, we have a very disparate group of films this week: Flowers of Shanghai (1998), One False Move (1992), and Brief Encounter (1945), which Elise compares to Jeanne Dielman (although - spoilers - Brief Encounter does have a happier ending).  Time Codes: 0h 00m 45s:      KINGS ROW [dir. Same Wood] 0h 55m 28s:      JUKE GIRL [dir. Curtis Bernhardt] 1h 31m 31s:      Fear and Moviegoing in Toronto: Flowers of Shanghai (1998) by Hou Hsiao-hsien; One False Move (1991) by Carl Franklin & Brief Encounter (1945) by David Lean   Studio Film Capsules provided by The Warner Brothers Story by Clive Hirschhorn Additional studio information from: The Hollywood Story by Joel W. Finler                                     +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com   We now have a Discord server - just drop us a line if you'd like to join!         

Velkommen tilbake til Filmfeber - podcasten som dekker alt av ulike sjangere og epoker i filmhistorien. Vi har sett Park Chan-wooks nyeste thriller 'Decision to Leave' på kino; en vakker, virtuos og imponerende film som låner betraktelig fra Alfred Hitchcocks 'Vertigo' (1958). Vi returnerer også til et tidligere format, med en løs prat om hva vi har sett siden sist, og vi er innom alt fra poetisk film fra Storbritannia i 'The Long Day Closes' (1992) av Terence Davies samt en runde innom Hou Hsiao-hsien og film fra Taiwan. I panelet er Pål Gundersen og Tommy Larsson. Vil du sende inn spørsmål kan du enten gjøre det på instagram: Filmfeber eller mail: filmfeberpod@gmail.com. God lytting!

Kemajuan teknologi dewasa saat ini terus membuat kehidupan manusia berubah, termasuk Radio Taiwan Internasional yang akan menggelontorkan serangkaian program baru di tahun 2023. Film "A City of Sadness" yang disutradarai oleh Hou Hsiao-hsien pada tahun 1989, selang 33 tahun, akan ditayangkan kembali bagi para pecinta film pada tanggal 24 Febnruari 2023 dalam resolusi 4K, sehingga penonton dapat menikmati sajian film lama dengan lebih jernih. Film yang berlokasi syuting di Jiofen, menceritakan tentang kondisi Taiwan era masa Peristiwa 28 Februari (Yang berlanjut dengan White Terror) dan perjalanan demokrasi yang ada, mampu memenangkan penghargaan di Festival Film Venesia sebagai Film Asing Terbaik, dan tercatat sebagai salah satu film Taiwan yang diakui oleh dunia internasional.

Make it CLAP ! le podcast des élèves de Terminale option cinéma du Lycée Marc Bloch. Au programme de cette émission spéciale Festival Entrevues 2022 : 1) Films en compétition - Have You Seen This Woman? (2022) de Dusan Zoric / Matija Gluscevic - Serbie / Croatie - Unrueh (2022) de Cyril Schäublin – Suisse - Lake Forest Park (2022) de Kersti Jan Werdal - USA 2) Avant-Premières - Goutte d'Or (2023) de Clément Cogitore – France > Interview de l'acteur Karim Leklou 3) La Fabbrica - Très bien, merci (2006) de Emmanuelle Cuau - France > Interview de Emmanuelle Cuau et de l'acteur Gilbert Melkhi - Bled Number One (2005) de Rabah Ameur-Zaimeche - France > chanson “Nukni sw arac N ldzair » de Lounis Ait Menguellet 4) Autour du film Les Vitteloni (1953) de Federico Fellini - Pauvres mais beaux (1956) de Dino Risi – Italie - Les Garçons de Fengkuei (1983) de Hou Hsiao-hsien – Taiwan - Mean Streets (1973) de Martin Scorsese - USA > chanson “Be My Baby” de The Ronettes 5) La Transversale : Désobéissances - Nous étions jeunes (1960) de Blinka Zhelyazkova – Bulgarie - La Fureur de vivre (1955) de Nicholas Ray – USA - Point limite zéro – Vanishing Point (1970) de Richard Sarafian - USA 6) Cinéma et Histoire : Amérique 80 - Born In Flames (1983) de Lizzie Borden > teaser Entrevues 2022 – Musique de Léonie Pernet « Les Chants de Maldoror

Sam and Emma host Ryan Grim, DC Bureau Chief at The Intercept, to round up the week in news. Then, they're joined by Matthew Film Guy! First, however, Sam and Emma dive into the Indiana AG's investigation into the 10 y/o rape victim's doctor, the Secret Service deleting texts from 1/6, Starbucks Workers United's new series of complaints to the NLRB, and Joe Biden's arrival in Saudi Arabia, before diving deeper into the response from GOP Leadership in Ohio and Indiana (and nationally) to immediately question the story of a 10 y/o's rape, despite its common occurrence in Ohio, before shifting to a “well it's not really an abortion if it's a child” talking point in the wake of the story's confirmation. Then, they're joined by Ryan Grim as they dive into Eric Swalwell's questioning of Catherine Glenn Foster, CEO and President of Americans United for Life, comparing the right's rhetoric to that of the Salem Witch trials (whose legal authors happened to have been cited by Justice Alito) in how they define concepts in a way that determines their outcome (if it's legal it's not abortion, if it's illegal it is), looking back to Todd Akin's statements on “legitimate rape” and the immediate backlash he faced in comparison to today's embrace of fundamentalism. Expanding on this, they take on the tactic of fear-mongering with medical professionals, as seen in the attacks on the 10 y/o's abortion provider, and how they seek to pretend some reproductive care is legitimate while clearly attempting to eradicate any access to such care, then shifting the conversation to the role of the US media and how ill-fitted it is to respond to this moment, from the Washington Post's Glenn Kessler's legitimization of the right's attempts to undermine this story (even though children under 15 receive abortions about once per week in Ohio) to the greater issue of media having no actual access to emerging stories – especially when potential sources are under intense legal pressure to stay silent. Next, they dive into state-level fights to preserve abortion, including Kansas' attempt to latch on to the “medical freedom” talking point, despite its role in undermining trust in medical care, and look at how this evangelical fundamentalism will continue to target social groups they want to police. Wrapping up the interview they tackle the Democrats' inability to take responsibility for Manchin and Sinema, both in terms of getting them on board with the party and disciplining them for their departures, and set up what to expect for the upcoming midterm election. The great Matthew Film Guy then joins as he discusses his discovery of the niche early 2000s indie production “Mean Girls,” discusses his ever-burgeoning film projects, and dives into the work of Hou Hsiao-hsien. And in the Fun Half: Sam and Emma discuss the Biden Administration's response to Roe being overturned, the importance of Janeane Garofalo, and the threats against Pramila Jayapal that seem to fly under the media's radar. Tim Pool doesn't believe the pregnant 10-year-old was raped, Sam and Emma tackle the lie of the “last liberal,” Ben Shapiro's pretend ignorance of his stochastic terrorism having a genuine impact on the well-being of trans people, and Snooki becomes a central endorsement in the PA Gov race. Plus, your IMs! Check out Ryan's work at the Intercept here: https://theintercept.com/staff/ryangrim/ Check out Matthew's Letterboxd here: https://letterboxd.com/langdonboom/ Check out Matthew's film discussion group here: https://www.commonpointqueens.org/program/cultural-arts-and-jewish-heritage-classes/ Check out Matthew's eBay auction here! https://www.ebay.com/itm/115464749223 Become a member at JoinTheMajorityReport.com: https://fans.fm/majority/join Subscribe to the AMQuickie newsletter here: https://am-quickie.ghost.io/ Join the Majority Report Discord! http://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Get the free Majority Report App!: http://majority.fm/app Check out today's sponsors: Sunset Lake CBD: Check out Sunset Lake's tincture sale! For one week all tincture sales will be 35% off! Go to https://sunsetlakecbd.com/ now! Coupon code: TINCTURE Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattBinder @MattLech @BF1nn @BradKAlsop Check out Matt's show, Left Reckoning, on Youtube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Subscribe to Discourse Blog, a newsletter and website for progressive essays and related fun partly run by AM Quickie writer Jack Crosbie. https://discourseblog.com/ The Majority Report with Sam Seder - https://majorityreportradio.com/

https://notesonfilm1.com/2022/06/22/thinking-aloud-about-film-moneyboys-c-b-yi-taiwan-2021/ Why are we talking about Moneyboys? Well Jose's recently read The Hustler/ Die Pupenjunge, City of Night, and Dancer from the Dance and is fascinated by gutter and underbelly, night and shadows, criminality and liminality, the ways social and psychic alienation can combine with carnal immersion though sexual connection, the tension in sex work between certain types of freedom and certain types of bondage. Moneyboys is too high class to touch on many of those things. But Richard is interested in Taiwanese Cinema, in Hou Hsiao-hsien and Haneke, interests which do intersect with Money Boys so humours him. In the podcast we talk of the significance of a Taiwanese film on this subject being set in Mainland China; the tensions between the rural and the city; the biological family which accepts money earned from sex work but casts out the worker; the value of constructed families; the various kinds of love valued (and de-valued) by the film; the possible conflation of sex work and homosexuality; the fluid long takes and the emotional distance evoked. It's an accomplished first film, interestingly made under a pseudonym, and in the podcast we talk through our responses to the various strands it raises.

A propos du « Ravissement de Lol V. Stein », publié en 1964, Marguerite Duras écrivait qu'il est « un livre à part. Un livre seul. Qui opère à lui seul une séparation entre certains lecteurs-auteurs qui ont adhéré à la folie de L.V. Stein et les autres lecteurs du livre ». Pour l'acteur et réalisateur Nicolas Maury («Dix pour cent», «Garçon Chiffon»), ce roman de Marguerite Duras est «une musique très particulière». Il a voulu parler de ce livre car « c'est une façon moins embarrassante de parler de soi. Mais c'est aussi une façon de parler de soi, que de parler de ce qui nous frappe, nous caresse, nous contredit…» Cet épisode de "Truc culte" a initialement été mis en ligne le 28 septembre 2021. Les recommandations de Nicolas Maury : - Le roman « Suite suisse », d'Hélène Bessette, Éditions Léo Scheer, 2008 - Le film « Poussières dans le vent », de Hou Hsiao-hsien, 1986 - L'autobiographie « Parure d'emprunt », de Paula Fox, Éditions Joëlle Losfeld, 2008

In this episode of the podcast, Karri and Henrik join forces with director Nick Vaky and photographer Luke Liu from the Youtube channel Mint Volcano to discuss Taiwanese New Wave cinema. The quartet takes a close look at four distinct films across the timeline of the New Wave 'movement' from two key directors - Hou Hsiao-hsien and Edward Yang. The themes of history, sociopolitical issues, heartfelt memories and dark humor coalesce into an engaging long-form discussion. Films covered in this episode: A Summer at Grandpa's (1984) A City of Sadness (1989) Mahjong (1996) Yi Yi (2000) Nick Vaky Website: https://nickvaky.com Vimeo: https://vimeo.com/user13406252 Instagram: @Nickvaky Luke Liu Website: https://lukeliu.tw Facebook: @LukeLiuPhoto Instagram: @Lonfom Hosted by Karri Ojala and Henrik Telkki, with guests Nick Vaky and Luke Liu. Pictures from Andrew Haimerl. Edited by Karri Ojala. The Flick Lab theme tune written and performed by Nick Grivell.

Cafe Lumiere (2003, Hou Hsiao-hsien)

A propos du « Ravissement de Lol V. Stein », publié en 1964, Marguerite Duras écrivait qu'il est « un livre à part. Un livre seul. Qui opère à lui seul une séparation entre certains lecteurs-auteurs qui ont adhéré à la folie de L.V. Stein et les autres lecteurs du livre ». Pour l'acteur et réalisateur Nicolas Maury («Dix pour cent», «Garçon Chiffon»), ce roman de Marguerite Duras est «une musique très particulière». Il a voulu parler de ce livre car « c'est une façon moins embarrassante de parler de soi. Mais c'est aussi une façon de parler de soi, que de parler de ce qui nous frappe, nous caresse, nous contredit…» Les recommandations de Nicolas Maury : - Le roman « Suite suisse », d'Hélène Bessette, Éditions Léo Scheer, 2008 - Le film « Poussières dans le vent », de Hou Hsiao-hsien, 1986 - L'autobiographie « Parure d'emprunt », de Paula Fox, Éditions Joëlle Losfeld, 2008

https://notesonfilm1.com/2021/08/30/hou-hsiao-hsien-25-contexts-15-growing-up-chen-kunhou-1983/ We discuss this absorbing and extremely likeable film in the context of New Taiwanese Cinema. Chen Kunhou was then Hou's regular cinematographer. This feels , to an extent,  like a transition between the style of the earlier Hou films and the later ones. Hou Hsiao-hsien collaborated on the screenplay and we compare this to Hou's earlier films (and find it lacking). There's a sense that that this is a first try for ideas that were better developed in Boys from Fengkuei & Time to Live and a Time to Die. There are spoilers in the podcast. The film is a maternal melodrama, where the mother's point of view is sidelined in favour of the son's, the husband's, the society, a childhood schoolmate of the son. We find fault with the screenplay, the structure and the visual story-telling. What in Hou feel like ellipses that afford depth, here  come across as unbelievable plot holes or plot twists. We are nonetheless very charmed by it and highly recommend.

On today's podcast we're talking about a long-running preoccupation of cinema: sex work. From Taxi Driver to Pretty Woman, sex workers have frequently appeared in the movies as both tragic and romantic figures, but rarely as, well, workers. Two recent releases offer a different, more complex perspective: Lizzie Borden's 1986 cult classic Working Girls, which was restored and released in July, and Tsai Ming-liang's latest feature, Days.  We sat down with critics So Mayer and Sarah Fonseca to talk about the ways in which these films reflect on questions of labor, representation, performance, and care. The conversation quickly branched out to many more films, including Leilah Weinraub's Shakedown, Hou Hsiao-hsien's Flowers of Shanghai, Antonio Pietrangeli's Adua and Her Friends, Fassbinder's Querelle, and others.

https://notesonfilm1.com/2021/08/09/hou-hsiao-hsien-23-contexts-13-in-our-time-yi-chang-ko-i-chen-tao-te-chen-edward-yang-1982/ A central film in the history of New Taiwanese Cinema. A portmanteu film, like The Sandwich Man,  composed of films by four different directors :Dinosaur/ Little Dragon Head, d: Tao Te Chen; Expectations/ Desires, d: Edward Yang; Leapfrog, d: Ko I-chen; Say Your Name/ Show Your ID, d: Yi Chang. The films are structured in chronological order, each film set in a different decade from the 50s to the 80s.  In the podcast we discuss the figure of the Child in Taiwanese cinema, which seems to be a recurring pattern. We're thrilled by the extraordinary depiction of the female gaze in Edward Yang's episode and the beautiful and complex way it's visually conveyed. What Yang can do with a pan is quite extraordinary. We talk about how this new wave comes across as a 'boy's club' and discuss the context of the last episode in relation to Sylvia Chang. We also wonder whether Sylvia Chang might be overlooked more by Western critics than Taiwanese ones and the effect that that might have on our perception and accounts of this cinema in the West and whether this is an effect of overvaluing auteurism at the expense of social and industrial contexts.  We note the use of music and discuss how those choices might have affected the international circulation of this film. We talk about the many common elements these short films have with Hou Hsiao-hsien's early commercial work. It's a film we both highly recommend,

https://notesonfilm1.com/2021/07/23/hou-hsiao-hsien-21-a-city-of-sadness-1989/ After all our contextualising, we return to Hou Hsiao-hsien films proper, focussing on the masterpiece that is a City of Sadness. We are able now to discuss not only what the film feels like to watch or what it is about in formal terms but can now add various kinds of contexts: historical, political, social, aesthetic, industrial, and even how our own personal histories find echo in the film and how those echoes add a layer of insight and understanding into the film and perhaps also into ourselves. It makes for a rich but still -- as is proper with all great works -- initial and tentative discussion.

Wielcy operatorzy azjatyckiego kina to grupa zdecydowanie zbyt słabo reprezentowana, jeśli chodzi o obecność w mediach i filmoznawczych tekstach. Do rzadkości należą wywiady czy analizy stylu wybitnych artystów, których wizji i technicznym umiejętnościom zawdzięczamy szereg arcydzieł światowej kinematografii.  Dostępny na platformie Pięć Smaków w Domu przegląd Azjatyckiego Kina Drogi stał się dla nas pretekstem, by przyjrzeć się wnikliwie dziełom trzech niezwykłych operatorów: Marka Lee Ping-binga, Chunga Mong-honga (znanego pod pseudonimem Nagao Nakajima) oraz Cheng Siu-keunga. Na czym polegała ich rola w tworzeniu unikatowego stylu mistrzów, z którymi współpracowali - takich jak Hou Hsiao-hsien, Johnnie To czy Wong Kar-wai? Gdzie szukać źródeł ich inspiracji - i jakie jest wśród nich miejsce klasycznej sztuki i filozoficznych koncepcji relacji człowieka z otoczeniem? Na co warto zwrócić uwagę, przyglądając się krajobrazom, przemierzanym przez bohaterów filmów?   Przegląd Azjatyckie Kino Drogi na VOD Pięć Smaków w Domu   Filmy odcinka: Dziewczyna z milionem / Hyakuman-en to nigamushi onna / One Million Yen Girl, reż. Yuki Tanada, Japonia 2008 Forteca / Nam-han-san-seong / THe Fortress, reż. Hwang Dong-hyeok, Korea Południowa 2017 Kwiaty Szanghaju / Hai shang hua / Flowers of Shanghai, reż. Hou Hsiao-hsien, Tajwan, Japonia 1998 Millenium Mambo / Qianxi manbo, reż. Hou Hsiao-hsien, Tajwan, Francja 2001 Misja / Cheung foh / The Mission, reż. Johnnie To, Hongkong 1999 Noce Bangkoku / Bangkok Nites, reż. Katsuya Tomita, Japonia, Laos, Tajlandia, Francja 2016 Norwegian Wood / Noruwei no mori, reż. Tran Anh Hung, Japonia 2010 Parking / Ting che, reż. Chung Mong-hong, Tajwan 2008 Podróżnicy i magowie / Magicians and Travellers, reż. Khyentse Norbu, Bhutan 2003 PTU, reż. Johnnie To, Hongkong 2003 Rashomon, reż. Akira Kurosawa, Japonia 1950 Rzeka czasu / Chang jiang tu / Crosscurrent, reż. Yang Chao, Chiny 2016 Rzut na matę / Yau doh lung fu bong / Throw Down, reż. Johnnie To, Hongkong, Chiny 2004 Słońce / Yangguang puzhao / A Sun, reż. Chung Mong-hong, Tajwan 2019 Spragnieni miłości / Fa yeung nin wah / In the Mood for Love, reż. Wong Kar-wai, Hongkong, Chiny 2000 Szerokiej drogi / Yi lu shun feng / Godspeed, reż. Chung Mong-hong, Tajwan 2016 Wygnani / fong juk / Exiled, reż. Johnnie To, Hongkong 2006 Z ostatniej chwili / Dai si gin / Breaking News, reż. Johnnie To, Hongkong 2004 Zabójczyni / Nie Yinniang / The Assassin, reż. Hou Hsiao-hsien, Tajwan, Hongkong, Chiny 2015 Zagubiona dusza / Shi hun / Soul, reż. Chung Mong-hong, Tajwan 2013

https://notesonfilm1.com/2021/07/15/18745/ We continue with our discussion of Edward Yang films in relation to Hou Hsiao-hsien's work. We discuss the film in relation to Postmodernism, Existentialism, contingency, nausea, chance. We note that Fredric Jameson wrote on Sartre, Postmodernism, and this film. We discuss, Yang's characteristic visuals, his distinctive way of filming, narrating, and style of characterisation. We continue to be entranced.

Zur Einstimmung in die Filmreihe "Taiwan Cinema" gibt es eine Einführung in die Reihe von Ko-Kurator Lorenzo Berardelli vom tba film collective und in Hinblick auf den Film ein Gespräch zwischen der Taiwan-Expertin Simona Grano und der Filmwissenschaftlerin Natalie Boehler. Anders als das actionlastige Hongkong-Kino und das oft epische und ästhetisch überhöhte Kino der VR China ist das Filmschaffen Taiwans eher realitätsnah, auf normale Menschen konzentriert, und arbeitet dunkle Kapitel der Geschichte auf. Neben Werken von bekannten Regisseuren wie Edward Yang, Ang Lee und Hou Hsiao-hsien gibt es auch Filme weniger bekannter Cineastinnen und Cineasten zu entdecken.

https://notesonfilm1.com/2021/06/25/hou-hsiao-hsien-19-context-10-edward-young-1985/ Richard and I discuss our admiration of Edward Yang's Taipei Story. It's connection to Hou Hsiao-hsien, who stars and co-wrote the screenplay. It's a mosaic of a film in which a relationship between two people who care for each other falls apart and as it does so we get to see stories of a people and of a city in transition in a country situated within two imperial cultures, Japanese and American, with mainland China always hovering on the background. It's a beautiful film, with really striking, original and beautiful imagery: Yang's flat face-on camera, uses of screens, reflections, the city always ever present in what is ultimately a chamber piece focussing on a couple and their immediate relations, the couple caught between a longed for past (on his part) and an uncertain future in hers. A truly great film.

https://notesonfilm1.com/2021/06/16/hou-hsiao-hsien-17-contexts-8-the-rice-dumpling-vendors-hsin-chi-1969/ A discussion of Hsin Chi's THE RICE DUMPLING VENDORS, a rare male melodrama. The protagonist kicks his wife out of the house for perceived infidelity; as soon as he does the whole family falls apart and is plunged in a spiral of poverty, the father at one point abandoning his baby even as his two minor children take on jobs in order to buy milk. The film documents a society on the cusp of modernity and suffering the effects of the social and economic effects produced by it. Stylistically, the film is highly skilled and gorgeous to look at. Character's thoughts are offered in voice-over or through song. There is a mix of genres: noir/action/family-melodrama/documentary. It's a cinephile's film, with references to PSYCHO and other films. The music borrows from CINDERELLA as well as then current pop-hits as Sinatra's version of 'I've Got You Under My Skin'. We also discuss the extent to which this film is an influence on Hou Hsiao-hsien's THE SANDWICH MAN. The more Hsin Chi films we see, the more we like and value them.

The final film in our Disney-animation-and-remakes sub-season is the 2020 iteration of MULAN. After some reviews, we delve into discussions of Disney ‘humanisation' (sometimes, you just want bad guys to be bad guys), the fact that this movie is aimed at a very different audience from the original, the changes that are made to make this more of a human film, and how honour and ch'i (two big concepts here) mean very different things for different (gendered) characters. Next Up The next episode is our 200th — stay tuned to find out what we have planned for this, which may be something of a retrospective. Recent Media ARMY OF THE DEAD (2021): Zack Snyder, Dave Bautista, Ella Purnell STEELERS: THE WORLD'S FIRST GAY RUGBY CLUB (2020): Eammon Ashton-Atkinson, Nic Evans, Simon Jones PALM SPRINGS (2020): Max Barbakow, Andy Samberg, Cristin Milioti Recommendations ROGUE ONE (2016): Gareth Edwards, Felicity Jones, Diego Luna BACK TO THE FUTURE, PART II (1989): Robert Zemeckis, Michael J. Fox, Christopher Lloyd 2046 (2004): Wong Kar-wai, Tony Leung Chiu-wai, Faye Wong THE ASSASSIN (2015): Hou Hsiao-hsien, She Qi, Chang Chen Footnotes To start with, almost in passing, Sam mentions the concept of magic(al) realism, when talking about the phoenix; more on that here: en.wikipedia.org/wiki/Magic_realism. When Rob mentions the film's Wuxia moments, there's a throwback both to the genre and to some episodes of The Prestige discussing this: en.wikipedia.org/wiki/Wuxia; particularly, www.kaiju.fm/prestige/the-assassin-and-cultural-tourism, www.kaiju.fm/prestige/4-05-come-drink-with-me-1966-and-war, and www.kaiju.fm/prestige/4-08-the-legend-of-drunken-master-1994-and-comedy-action. Next, I looked at the title of this article and thought ‘uh-oh, we missed something significantly wrong with this film'; no, it's just a terrible take: www.sceneandheardnu.com/content/2020/9/18/mulan-is-bad-and-that-was-inevitable. (It's here to remind us all that other opinions do exist, which is rather the point of film…) Finally, here's more on the ‘life force' we discuss a lot in this episode (spelled in any number of ways in the English transliteration): en.wikipedia.org/wiki/Qi. Next episode is our 200th, and we want your help! - https://www.notion.so/The-Prestige-200th-Episode-0556dca9b5ea4821807e524bfe3be263 Find Us On Podchaser - https://www.podchaser.com/podcasts/the-prestige-417454 Follow Us - https://www.twitter.com/prestigepodcast Follow Sam - https://www.twitter.com/life_academic Follow Rob - https://www.twitter.com/kaijufm Find Our Complete Archive on Kaiju.FM - http://www.kaiju.fm/the-prestige/

https://notesonfilm1.com/2021/06/04/the-husbands-secret-zhang-fu-de-mi-mi-lin-tuan-qiu-taiwan-1960/ A treat. Part of a new series of mid-century Taiwanese films made available in a wonderful restoration through the Taiwan Film and Audiovisual Institute. We are discussing the film as a context for, as a way of better understanding the cinema of Hou Hsiao-hsien. But we can't help but discuss other elements that crop up: the career of Lin Tuan-qiu, the uses of melodrama, the extraordinary cinematography by Chen Cheng-fan and equally amazing lighting by Chen Tian-rong; we discuss how the film is a critique of patriarchy whilst also exploiting the visual aspects of women sinning; the films seems both visually sophisticated but also an example of what many will see as crude stereotypical melodrama, and fascinating for that. It's a plot-laden film, full of twists, and totally engrossing. We discuss the uses of flashbacks and flashbacks within flashbacks; the narrated elements by a narrator that seems omniscient and can't quite be placed; we critique the choppiness of the editing whilst praising some of the on-location shooting. We see clear roots in theatre and theatrical forms of acting. A weird and fascinating combination of cine-literate sophistication with a kind of crudity of acting and mode which we highly recommend not only to those interested in Taiwanese Cinema but also those interested in melodrama.

We discuss the work of Taiwanese filmmaker Hou Hsiao-hsien and focus on A SUMMER AT GRANDPA'S, FLOWERS OF SHANGHAI, and THE ASSASSIN. Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie) as well as Will's other podcast MICHAEL AND US (@michael-and-us)

https://notesonfilm1.com/2021/05/16/hou-hsiao-hsien-7-a-time-to-live-and-a-time-to-die/ We continue our discussion of the work of Hou Hsiao-hsien, this time with a focus on The Time to Live and The Time to Die, the second in his cycle of autobiographical films after The Boys from Fenkuei. We discuss what is depth in this film and talk about Hou's consideration of 'traces 'in the surfaces of his films, how the depth is often in the surfaces. We note the structuring of this film, a bildungsroman, around a series of deaths. We talk of how often the key narrative points are obscured, and make sense only in the connections the viewers can make; how Hou often films in fixed positions, so we return to the same scene but across time, and we think about how this might affect all those spaces without faces, the anticipatory space, and the remains after characters have left the scene. We also explore the dual perspective in the film, the filmmaker's and the protagonist's, often intersecting, rarely interchangeable. We mention how Hou narrates the beginning of the film and how the drama is filmed in the real places and spaces he grew up in, and the effect of dramatising fictionally, on our speculation of the effects of spaces across time in this narrative....and much more.

https://notesonfilm1.com/2021/05/14/hou-hsiao-hsien-6-a-summer-at-grandpas-1983/ We delve further into the cinema of Hou Hsiao-hsien. We discuss the narrative structure, how various plots unfold and deepen what seems initially a light story where not much seems to happen. We discuss the continuing interest in differences between the country and the city, the use of trains, how the kids develop an understanding of the adult world by what happens on the margins of the story, and how the story itself is told in long takes, in the middle plane of the frame, with elegant compositions that reframe our view through character placement and movement. We discuss the context of production, the connection with Hong Kong, the limitations of government policy, how little film filmmakers were allowed to use, and how this affected the films' aesthetic. We also discuss the improvisational style of acting and the performances Hou manages to extract from the children, who are wonderful. We talk of how he uses corridors and stairs to create depth, how light and oblique angles create the feeling of a child hearing things they might not be understanding. We also discuss Hou's use of empty space (which is what most likely lead to comparisons with Ozu). we end with a discussion of the music, very different this time, and composed by Edward Yang, who also plays the father in the film, appearing briefly at the beginning and the end....….oh and the continuing use of toilet gags!

Jim Healy talks to Achal Mishra about THE VILLAGE HOUSE. The astonishing debut feature from 23-year-old writer/director Achal Mishra, The Village House gently and lovingly captures a large extended Indian family over several decades as they gather at the matriarch’s rural home. As the movie follows the inevitable rhythms of change, such as children growing older and moving away to the city, it is the village house itself that emerges as the central character in this tale of the inexorable decay of traditional village life. Mishra keeps the film continually captivating on a visual level through gorgeous fixed-camera long takes and he has split this generational story into three separate chapters that take place years apart, employing a different screen aspect ratio for each segment. The narrative mostly avoids moments of tension to favor a flowing series of warm, nostalgic images: food cooking, old men playing (and cheating) at cards, a family gathered around a small television to watch a movie. As time slips away, and the house falls slowly into disrepair, Mishra’s storytelling technique builds to its devastating final moments, resulting in an intimate mini-epic that traces the intertwining of family and nature through the cycle of birth, death, and rebirth. The Village House provides a resounding emotional experience through quiet observation of the human condition. “Like master filmmakers Edward Yang and Hou Hsiao-hsien, Mishra understands how cinematic aesthetics can beautifully mirror the invisible momentum of time” (Glenn Heath Jr., The Film Stage). (JH)

https://notesonfilm1.com/2021/05/07/thinking-aloud-about-film-hou-hsiao-hsien-4-the-sandwich-man-1983/ A discussion of The Sandwich Man, an omnibus film with episodes from Hou Hsiao-hsien, Wan Jeng, Tseng Shuan-hsiang, that is said to have helped launch New Taiwanese Cinema. We talk about the three different episodes, how so many New Waves incorporated omnibus or portmanteau films as a form of self advertisement, the relationship to The Bicycle Thief, the way it allegorises and comments on conflicts and changes in Taiwanese cinema and society....and much more.

Trailer for a new series of podcasts by Richard Layne and José Arroyo that will be an umbrella for all themed podcasts we've been doing so far, Youssef Chahine, selections from Ritrovato in Bologna, and currently, a series of talks on the early cinema of Hou Hsiao-hsien.

https://notesonfilm1.com/2021/04/25/thinking-aloud-about-film-the-cinema-of-hou-hsiao-hsien-1-cute-girl-1980/ Richard and I turn our attention to the early cinema of Hou Hsiao-hsien. Four of his films are now on MUBI and at least the first one is delightful: a romantic comedy not to different from those characteristic of American Cinema in the 1930s, but with broader humour and more pop songs. A delightful first work, very commercial .... and very different from what was to follow.

A note from Talking Taiwan host Felicia Lin:   This week we welcome back Anthony Kao, the Founder and Editor-in-Chief of Cinema Escapist to Talking Taiwan. I’ve asked him to recommend films that help familiarize people with Taiwan. He’ll be recommending films about Taiwan that best represent certain decades, eras or significant historical events.   Here’s a little preview of what we talked about in this podcast episode: Anthony’s recommendations are of films made after the lifting of martial law in Taiwan 1987 In selecting films to recommend Anthony tried to select a variety of film genres to suit the different tastes of Talking Taiwan listeners The films Anthony recommends represent a diverse array of Taiwan’s culture and historical phenomena The five films that Anthony recommends: A City of Sadness (1989), Yi Yi (1999), Cape No. 7 (2008) The historical and political relevance of Anthony’s film recommendations The Taiwan history film trilogy by film director Hou Hsiao-hsien (侯孝賢): A City of Sadness (1989), Good Men, Good Women (好男好女1995), The Puppetmaster (1993) New Taiwanese Cinema Second New Wave of Taiwan Cinema   Related Links:   Cinema Escapist: https://www.cinemaescapist.com/   Cinema Escapist on Facebook: https://www.facebook.com/cinemaescapist   Cinema Escapist on Twitter: https://twitter.com/cinemaescapist     A City of Sadness (1989): https://en.wikipedia.org/wiki/A_City_of_Sadness https://www.imdb.com/title/tt0096908/     Good Men, Good Women (好男好女 1995): https://en.wikipedia.org/wiki/Good_Men,_Good_Women https://www.imdb.com/title/tt0113256/     The Puppetmaster (1993): https://en.wikipedia.org/wiki/The_Puppetmaster_(film) https://www.imdb.com/title/tt0107157/     Hou Hsiao-hsien (侯孝賢), Film Director: https://en.wikipedia.org/wiki/Hou_Hsiao-hsien https://www.imdb.com/name/nm0396284/     Yi Yi (1999): https://en.wikipedia.org/wiki/Yi_Yi https://www.imdb.com/title/tt0244316/     Edward Yang (楊德昌), Film Director: https://www.imdb.com/name/nm0945981/     Three Times (2005): https://en.wikipedia.org/wiki/Three_Times     Cape No. 7 (2008): https://en.wikipedia.org/wiki/Cape_No._7     Seediq Bale (2011): https://en.wikipedia.org/wiki/Warriors_of_the_Rainbow:_Seediq_Bale https://www.imdb.com/title/att2007993/     We Te-sheng, Film Director: https://en.wikipedia.org/wiki/Wei_Te-sheng https://www.imdb.com/name/nm0917669/     On Happiness Road (2017): https://en.wikipedia.org/wiki/On_Happiness_Road https://www.imdb.com/title/tt7543904/     Hsin Yin Sung, Film Director: https://www.imdb.com/name/nm3403663/?ref_=tt_ov_dr       New Taiwanese Cinema: https://en.wikipedia.org/wiki/Cinema_of_Taiwan#New_Taiwanese_Cinema,_1982%E2%80%931990     Second New Wave of Taiwan Cinema: https://en.wikipedia.org/wiki/Cinema_of_Taiwan#New_Taiwanese_Cinema,_1982%E2%80%931990     The 10 Best Taiwanese Movies of 2019: https://www.cinemaescapist.com/2019/12/best-taiwanese-movies-2019/

L’un des réalisateurs les plus importants du cinéma contemporain. Faisant suite aux grands noms de la « nouvelle vague » taïwanaise (Edward Yang, Hou Hsiao-sien, Ang Lee...), le cinéma de Tsai Ming-liang s’impose en trois premiers films : Les Rebelles du dieu néon, Vive l’amour (Lion d’or à Venise), La Rivière (Ours d’argent à Berlin).Cette trilogie scelle sa rencontre et son travail avec l’acteur Lee Kang-sheng dont le corps, le regard et les mouvements vont imprégner durablement le cinéma de Tsai. Fait unique dans l’histoire du cinéma, leur duo artistique perdure jusqu’à aujourd’hui, sans interruption.Grand topographe de Taipei, entomologiste des matières, conteur et filmeur hors pair du désir, Tsai Ming-liang a nourri les œuvres d’Apichatpong Weeraethakul, Nadav Lapid ou Lisandro Alonso.Ce coffret contient :Les Rebelles du dieu néon (1 992, 103 min) :Hsiao-kang abandonne soudainement ses études pour se mettre à suivre et observer un trio de jeunes voyous.Vive l’amour (1994, 118 min) :Un appartement vide de Taipei est témoin du chassé-croisé de trois âmes esseulées de Taipei.La Rivière (1997, 111 min) :Après s’être plongé dans les eaux troubles d’une rivière de Taipei, Hsiao-kang est victime d’un mal articulaire insoluble.Suppléments :Past Present (2013, 76 min), documentaire inédit :Accompagné de Tsai Ming-liang, Saw Tiong Guan, sillonne les lieux qui ont marqué le réalisateur, le questionne sur son travail ett s’entretient avec les réalisateurs Ang Lee, Hou Hsiao-hsien et Apichatpong Weerastehkul.Entretien inédit (2019, 20 min) avec Tsai Ming-liang et Lee Kang- sheng.Livret 36 pages : Textes inédits d’Olivier Cheval et Wafa Ghermani.Langues : Mandarin (Taiwan) - Sous- titres : françaisDVD Pal Toutes Zones

A note from Talking Taiwan host Felicia Lin:   A relationship between mother and daughter that was so stonewalled that it took 20 years and a camcorder to make a breakthrough- this was the subject of Huang Hui-chen’s first feature documentary film, Small Talk. Small Talk is one of two documentary films being screened at the Austin Asian American Film Festival’s Prismatic Taiwan (September 4-13), a virtual, six-film series celebrating the past and present of queer Taiwanese cinema. Hui-chen spoke candidly about this deeply personal film that she described as a letter to her mother. She also revealed what’s happened in the aftermath of the film. Her film and personal story give hope to others dealing difficult parent-child relationships. Special thanks to the Austin Asian American Film Festival and Stacey Pai for providing translation.   To purchase tickets to watch Small Talk and learn about the other films featured in Prismatic Taiwan visit: www.aaafilmfest.org/ Talking Taiwan listeners will get $2 off when they use the code TALKING. The Prismatic Taiwan Queer Film Series, features six LGBTQ Taiwan films spanning from 1970 to 2016. You can watch all six films for under $15. To learn more Prismatic Taiwan check out last week’s episode, episode t.     Here’s a little preview of what we talked about in this podcast episode:   Hui-chen’s work as an activist When she got interested in documentary filmmaking How it took her so long (20 years) to make Small Talk into a movie that her mother and relatives didn’t think she’d actually be able to do it The footage of her nieces discussing whether their grandma (Hu-Chen’s mother) is a boy or a girl How she got her mother to finally talk How she got other family members and her mother’s girlfriends to talk in the film The one person who she would have like to interview for the movie, but did not How the film, Small Talk is like a letter to her mother Why Hui-chen’s husband doesn’t appear in the film While Hui-chen’s now ex-husband doesn’t appear in Small Talk he will be in her next film which will be about the relationship between love and social activism Hui-chen’s mother’s reaction to the film after watching it How Hui-chen’s mother’s reacted when Small Talk was screen at Taiwan’s Golden Horse Awards How the film Small Talk has affected her and mother’s relationship with their relatives What was Hui-chen’s sister’s reaction to Small Talk How the film Small Talk has affected Hui-chen’s relationship with her mother How Hui-chen’s relatives reacted to and dealt with to her mother’s lesbianism How Hou Hsiao-hsien took a leap of faith when he got involved and became the executive producer of Small Talk What filmmaking advice Hou Hsiao-hsien gave her How Hui-chen feels about Small Talk having been selected as the Taiwanese entry for the Best Foreign Language Film at the Academy Awards Hui-chen’s book about her mother that reveals more that the film did not   Related Links:   PURCHASE tickets to watch Small Talk LEARN More About Prismatic Taiwan and the September 5th live, virtual roundtable discussion event with Asian Cinevision and director Zero Chou, entitled “Creating Transnational Queer Asian Spaces”: https://www.aaafilmfest.org/prismatic-taiwan Huang Hui-chen’s book, about her mother, 我和我的T媽媽 (available in Chinese): https://readmoo.com/book/210085132000101 https://www.books.com.tw/products/E050053049 Austin Asian American Film Festival: https://www.aaafilmfest.org/   Austin Asian American Film Festival Facebook page: https://www.facebook.com/AAAFF/   Austin Asian American Film Festival on Instagram: https://www.instagram.com/aaafilmfest/   Austin Asian American Film Festival on Twitter: https://twitter.com/AAAFF

A note from Talking Taiwan host Felicia Lin:   Prismatic Taiwan, is a virtual, six-film series celebrating the past and present of queer Taiwanese cinema, co-presented by the Austin Asian American Film Festival (AAAFF). I recently spoke with Hanna Huang, the Executive Director of the Austin Asian American Film Festival and Josh Martin of the special programs team about the lineup of films that span 1970-2016. As you’ll hear in the interview, a lot of research and thought went into the film selections. The films offer a different perspective on Taiwan’s history and insight into Taiwan’s LGBTQ history. You can watch all six films for under $15 and Talking Taiwan listeners can also get an additional $2 off when they use the code: TALKING.   Next week’s episode will feature my interview with one of the film directors, Huang Hui-chen about her film, Small Talk, a deeply personal documentary that was 20 years in the making.     Here’s a little preview of what we talked about in this podcast episode:   How the Austin Asian American Film Festival has screened many Taiwanese films throughout the years The retrospective of six Hou Hsiao-hsien films at the Austin Asian American Film Festival in September 2018 How a Taiwan Queer Film Retrospective has actually been in the works since 2018 The Austin Asian American film festival started in 2004, but was known as the Austin Asian film festival until 2007 when an Asian American organizer, Masashi Niwano stepped in The mission of the Austin Asian American Film Festival, which is to bring to light Asian and Asian American stories through cinema Their programming is year round The main film festival is usually held in June, but this year they had a short film online festival featuring 36 short films Prismatic Taiwan, a six film retrospective of queer films spanning 1970-2016 A retrospective of Asian American films is being planned for the late fall (November) The meaning behind the name Prismatic Taiwan How they translated the word prismatic with the Chinese word for kaleidoscope, therefore Prismatic Taiwan A Queer Film Series has been translated into Chinese as: 萬花同志電 How the first film of Prismatic Taiwan, The End of the Track from 1970 was thought lost but has been recovered and is being reintroduced to audiences How they narrowed down the film selection from over 20 films to 6 The one film that they couldn’t include in Prismatic Taiwan when the Austin Asian American Film Festival went online, Ang Lee’s The Wedding Banquet The second film in the series, Outcasts (aka The Outsiders) as made in 1986 right before martial law in Taiwan was lifted How they selected films that were not that easy to find The River, was set in 1997 around the emergence of the gay club scene in Taipei Not Simply a Wedding Banquet, set in 1997 is a documentary Spider Lilies (2007) and Small Talk(2016) feature female gay characters whereas The River and Not Simply a Wedding Banquet feature male gay characters September 5th live event, a Transnational Queer Activism Panel featuring Film Director Zero Chou in collaboration with Asian Cinevision along with others from the U.K. and Taiwan Small Talk (2016) is a documentary film that was 20 years in the making and was executive produced by Hou Hsiao-hsien and Taiwan’s submission to the Academy Awards These films tell the story of Taiwan’s history and queer history How Director Tsai Ming-Liang, made the film I Don’t Want To Sleep Alone in Malaysia but it was banned there Previously Tsai Ming-Liang had said that he wasn’t comfortable having his films in a queer film festival but that has changed since the legalization of gay marriage in Taiwan How there were film distributors or filmmakers who didn’t want their film to be a part of the queer series The background of Mou Tun-Fei the director of The End of The Track How the design of the poster for Prismatic Taiwan was inspired by Kaohsiung’s Love River Prismatic Taiwan is offering a SPECIAL DISCOUNT to listeners of Talking Taiwan, just use the code: TALKING to get $2 off when you purchase your tickets from August 38-September 13   Related Links:   Austin Asian American Film Festival: https://www.aaafilmfest.org/     Purchase tickets to Prismatic Taiwan and for more info on the September 5th live event, virtual roundtable discussion event with Asian Cinevision and director Zero Chou, entitled “Creating Transnational Queer Asian Spaces”: https://www.aaafilmfest.org/prismatic-taiwan     Austin Asian American Film Festival Facebook page: https://www.facebook.com/AAAFF/   Austin Asian American Film Festival on Instagram: https://www.instagram.com/aaafilmfest/   Austin Asian American Film Festival on Twitter: https://twitter.com/AAAFF

This episode pits Hou Hsiao-hsien's 2015 wuxia film "The Assassin" against Noah Baumbach's 2019 drama "Marriage Story"   Subscribe to our feed wherever you get your podcasts at: https://anchor.fm/s/16ba53cc/podcast/rss  https://twitter.com/kinomadnesspod  Tourney List can be found here: https://boxd.it/51QDi  Featuring  Vance (https://letterboxd.com/TheHolyMountain)  Ethan (https://letterboxd.com/pageus)  Nathaniel (https://letterboxd.com/nattycboi) 

¡Por fin! Luego de un año de haber lanzado el Trailer, sale el Primer Capitulo de Camara Banda, pero no es como me imagine (y probablemente tampoco lo que esperaban) que iba a ser, no platico con nadie, no lo grabe en la calle y es mas, casi ni hablo de foto callejera. Este episodio es un experimento muy personal en el que aprovecho la cuarentena por el Covid para enfrentarme a los peligros de mi conciencia e ir en busca de mi mirada perdida, con la ayuda de mi fiel Manifiesto Fotográfico me pongo a repasar de donde vengo y por que hago lo que hago. Primer capitulo de varios (espero) Enlaces: Manifiesto completo Mis Primera fotos con Sony Cybershoot Trabajo realizado en Chiapas Mi Instagram www.balam-ha.com Música en este capitulo: A Pure Person- 林強(OST de la Pelicula Millenium Mambo de Hou Hsiao-hsien) Aqua control- Zula Infrared Bread- Zula Moonrock Mountain- Zula Water Crisis- Zula Morrow- Dragon Ash

Podczas przedłużającej się kwarantanny, kontynuujemy naszą filmową podróż po Azji. Tym razem zaglądamy do kraju, o którym mówi się i pisze ostatnio bardzo dużo - do Chin. To Państwo Środka zyskało najwięcej na procesach globalizacji w ostatnich dekadach, to tutaj setki milionów ludzi podźwignęły się z ubóstwa, przeprowadzając się do miast i budując wpływową klasę średnią. Proces ten przyniósł też sporo negatywnych zjawisk, o czym przypominają znakomite "Żegnaj, mój synu" Wanga Xiaoshueia i "Dotyk grzechu" Jia Zhangkego. Przyglądamy się również temu, w jaki sposób wielcy mistrzowie radzą sobie z klasycznym gatunkiem wuxia, przywołując stare chińskie opowieści w niezwykłej estetyce ("Zabójczyni" Hou Hsiao-hsiena i "Shadow" Zhanga Yimou). Na koniec otwieramy archiwum klasycznych chińskich filmów, wybierając stamtąd parę godnych uwagi pereł, praktycznie nieznanych w Polsce.

Le réalisateur Qui Yang et le producteur Hou Hsiao-hsien taiwanais présentent O, 5X1 project. Des pas résonnent au loin et un homme épuisé en costume entre. L’homme parle au téléphone. Nous ne comprenons pas la langue de cet homme mais nous ressentons sa tristesse. Qui est-il ? D'où vient-il ? Quelles sont ses intentions ? Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

En aquesta edició del programa hem parlat sobre #teatre: "Els nens desagraïts" a la Sala Beckett, "Maria Estuard" al Teatre Lliure, "Calígula" al Teatre Romea, "El llarg dinar de Nadal" a El Maldà, "El Bufón del Rey Lear" a Sala Fènix, "94 minuts" i "Alpenstock" al Teatre Tantarantana, "La noia de la Làmpada" a Sala Flyhard, "Himmelweg" a Sala Atrium i "Paquito Forever" a l'Almeria Teatre. I també sobre #cinema... hem fet un recorregut per la programació del Zumzeig Cinema per a aquest cap de setmana i l'activitat Cinema Spy Club en col·laboració amb la Biblioteca Vapor Vell, la retrospectiva sobre el cineasta taiwanés Hou Hsiao-hsien a la Filmoteca de Catalunya en el marc de L'Asian Film Festival de Barcelona organitzat per Casa Asia i la propera Mostra de Cinema Italià de Barcelona.

En aquesta edició del programa hem parlat sobre #teatre: "Els nens desagraïts" a la Sala Beckett, "Maria Estuard" al Teatre Lliure, "Calígula" al Teatre Romea, "El llarg dinar de Nadal" a El Maldà, "El Bufón del Rey Lear" a Sala Fènix, "94 minuts" i "Alpenstock" al Teatre Tantarantana, "La noia de la Làmpada" a Sala Flyhard, "Himmelweg" a Sala Atrium i "Paquito Forever" a l'Almeria Teatre. I també sobre #cinema... hem fet un recorregut per la programació del Zumzeig Cinema per a aquest cap de setmana i l'activitat Cinema Spy Club en col·laboració amb la Biblioteca Vapor Vell, la retrospectiva sobre el cineasta taiwanés Hou Hsiao-hsien a la Filmoteca de Catalunya en el marc de L'Asian Film Festival de Barcelona organitzat per Casa Asia i la propera Mostra de Cinema Italià de Barcelona.

This week on TIFF UN/CUT, hear a master class from the subject of a current retrospective. Something in the Air: The Cinema of Olivier Assayas traces the French auteur’s eclectic catalogue, from his early music videos for electro-pop stars Jacno and Winston Tong, to his documentary portrait of Taiwanese director Hou Hsiao-hsien, to his brilliant work in narrative film and his recent career-high collaborations with Kristen Stewart on CLOUDS OF SILS MARIA and PERSONAL SHOPPER, which have brought him even greater acclaim and a whole new audience. This week, you can catch Assayas’ first feature DISORDER, a portrait of France’s mid-’80s post-punk scene (and undoubtedly, a Joy Division reference), as well as his 2002 cyberthriller DEMONLOVER (which sports a score by Sonic Youth!). At the 2012 Toronto International Film Festival, where Assayas presented his film SOMETHING IN THE AIR — a youthful and semi-autobiographical portrait of young political activists living in a Parisian suburb in the early ‘70s — the director also participated in an onstage master class moderated by Brad Deane, Senior Manager of TIFF Cinematheque and programmer of the current Assayas retrospective. You’ll hear how Olivier’s screenwriter father made him think twice about making movies early on in his career, which Bresson films blew his mind, and why he never intended to be a film critic for Cahiers du Cinéma.

Olivier Assayas évoque son amitié avec Hou Hsiao-hsien et sa passion pour l'œuvre du cinéaste taïwanais, à qui il a consacré en 1997 un portrait filmé : HHH, un portrait de Hou Hsiao-hsien. Rencontre animée par Bernard Benoliel.

Le parcours de Hou Hsiao-hsien est atypique : profondément imprégné d'une histoire, celle de Taïwan, il s'est attaqué aussi à ses plus grands tabous dans le but de l'écrire vraiment. De fait, il s'est imposé comme une figure d'exception au sein de la nouvelle vague du cinéma taïwanais des années 1980.

À l'occasion de l'avant-première de son film The Assassin (Nie yin niang, 2014), Hou Hsiao-hsien dialogue avec Frédéric Bonnaud et Jean-François Rauger.

China's movie market has been expanding for some time now. A year ago, people were feeling slightly regrettable when total annual box office income failed to pass the 30 billion yuan threshold. This year by December 3rd, a 40 billion yuan record has been set and China's home-made movies account for nearly 60% of the total. Above all, China's 3D fantasy adventure film "Monster Hunt" became the country's highest-grossing film in July, beating international box office powerhouse "Furious 7".In the year 2015, China's movie industry not only achieved gratifying income figures, they've also made progress in an all-around manner.First and foremost, infrastructure building continues to generate exciting results, bringing the total number of cinema screens in the country to somewhere near 31,000. Currently the overall attendance rate stays around 15%, but the surplus seats stand ready to accommodate box office explosions, which are happening on a more regular basis in recent years.Most of the new facilities are being built in smaller cities or townships, where a new cinema attracts more moviegoers on average than a new cineplex in downtown Beijing. The increase in their number is also tipping the balance in China's movie market. While previously the urban dwellers footed almost all the bills, now small town young adults are empowered to change the way movies are made in this country.A typical example is how youth-centric stories are giving way to comedies. Suddenly China's storywriters have waken up to the possibility that maybe in the small cities, not every young man has lost the love of his life when the girl immigrate to a foreign country, and not every woman can bask in the favor of her young, handsome billionaire of a boss - when that does happen it is usually a middle-aged man, short and rotund and married with kids. Petty sentiment and fake melancholy have no currency among the small city dwellers, who simply want to enjoy some hearty laugher after a day's hard work.For that reason, comedy is the safest of all genres in which filmmakers are willing to invest their resources. Actor-turned-director Xu Zheng, who has kept impeccable track records in both roles, staged an ambitious comeback in "Lost in Hong Kong," which made the list of Top 3 earners, despite fierce competition from another comedy film and this year's No. 5 earner "Goodbye Mr. Loser."The favor of small town young adults propelled more titles to make headlines which otherwise could have remained obscure among the hundreds of low-budget stories cobbled up by amateur filmmakers. Chief among them is "Wolf Warriors," directed by actor Wu Jing. Mr. Wu is a talented martial artist and has a face not half bad, somehow his career as an actor never seem to take off. His first film in the director's chair depicts a hunt for foreign spies and features note-worthy action sequences, but the film's undisguised demonstration of patriotism follows the narrative of the past century. The stylish young men loitering in Beijing's Sanlitun will frown upon it, but they couldn't stop the film from causing a moderately big bang in the market.The potential and appetite of small town young adults therefore appeared on the radar of Chinese filmmakers, who didn't bother to figure out what this sizable group of consumers want the most. Their standard approach is to build on something that has already stood the test. "Dior's Man" is a popular show inspired by Germany sketch comedy "Knallerfrauen" and is streamed exclusively on China's video portals. Despite content that some may consider vulgar, it is nonetheless a well executed and creative show. So when the same crew came up with a film project "Jian Bing Man," they rocked the market by grossing more than 1.1 billion yuan.The source of inspiration is not limited to video content. Best-selling cartoon novel "Go Away Mr. Tumor" about a cartoonist's fight against cancer has warmed many hearts over the years, now a movie of the same name has been made starring actress Bai Baihe and actor Daniel Wu. Strictly speaking, the engineered story is not perfect, but it carries every bit of the late cartoonist's creative genius and optimistic spirit and should be considered a worthy tribute to the girl who offered a valuable message to every willing listener.Perhaps the most convincing example is to be found in the novel "Ghost Blows out the Light," a story about tomb-raiders so popular among Chinese internet users that two film adaptations have been made and screened this year. "Mojin - The Lost Legend" premiered in late December and is still going strong in the box office towards the end of the year. This adaptation boasts an A-list cast and spectacular setting that recreates the mysterious atmosphere described in the original story. While this adaption by Director Wuershan is considered the more successful of the two in narrative and in box office income, Director Lu Chuan's interpretation is more monumental in a different sense.Indeed, Lu Chuan's "Chronicles of the Ghostly Tribe" represents the highest grade of visual effect in Chinese films, up to the standard of Hollywood blockbuster films. The long shots bring up the striking beauty of a desert setting, much like "Mad Max: Fury Road." And the animated beasts would have been even more "flawless" if only the actors and actresses he hired were less green.The level of visually enhanced spectacle in "Chronicles of the Ghostly Tribe" is only matched by that in Tsui Hark's "The Taking of Tiger Mountain," where a Chinese soldier in the 1940s braved the same amount of make-believe bullets and explosions as Steve Rogers in Marvel's Captain America. Behold, it is China's own superhero story!And we have to talk about the animation film "Monkey King: Hero is back" when we talk about special effects. This tight-budget animation was only possible to achieve a 956 million yuan income because director Tian Xiaopeng insisted on quality control. Throughout the meagerly-funded seven-year project many crew members turned their backs and walked away, but the director's persistence led to the birth of the best Chinese animation film in decades. Many moviegoers, overwhelmed by its lively imagery, volunteered to promote the film in their friendly circles, but its portrayal of a fierce warrior who has it powers in check is the most impressive interpretation of the classic text.But the year 2015 is not just about the small city young adults, the market demand and the box office ranking. Filmmakers focused on expressing their own ideas are also getting their voices heard. Taiwan director Hou Hsiao-hsien's martial arts film “The Assassin” was honored with a Best Director title at the 2015 Cannes Film Festival. His efforts created a chance for willing viewers to live a story written by Tang Dynasty novelists. There is no way of knowing if the film speaks the truth about Tang Dynasty people's lives, but it certainly feels like reading the novels.Another director devoted to self-expression is Jia Zhangke, who seems quite obsessed with the place he was born, most of his stories happen in a small town named Fenyang in Central China's Shanxi Province. In "Mountains May Depart," Mr. Jia ventured outside his familiar territory into a wider space-time reality and sought to capture the unspeakable loneliness that haunts people unblessed with love. Jia's command of every single element in his narrative is unmatched by hardly any of his Chinese peers, but his step outside familiar terrain did not land as smoothly as one would expect from someone of his talent and calibre.The last entry is my personal favorite. "The Master" is Xu Haofeng's third attempt at self-expression. The lost world of martial artists is a recurring theme in Xu Haofeng's stories, Wang Kar Wai tried to adapt it in "The Grand Master" and ended up showing off his cinematographer's skills, Chen Kaige tried to adapt it in "Monk Comes Down the Mountain" and ended up discrediting himself and his cast members, no one understands the quaint mindset of Xu Haofeng's characters better than Xu Haofeng himself, and this time he's learnt some new tricks to avoid boring his viewers. The realist fighting style and snappy pacing proved an effective formula on modern moviegoers.Movies such as "The Assassin," "Mountains May Depart" and "The Master" don't get a lot of time slots in the schedule books, because they are much too quiet to induce laughter. A pessimist would loath the dominance of small town young adults and a rampant profit-seeking culture in the movie industry, but in 2015 Chinese filmmakers have come a long way to improve their products in various aspects, in time the viewers will surely follow suit and cultivate their own tastes, we only need to take it one step at a time.

This week Mike and Sean take a look at an early work by the late director Chantal Akerman, her feature debut Je tu il elle, along with a 1965 film by director Agnès Varda, Le bonheur. They also put a cap on their discussions of the 2015 Vancouver International Film festival, with some thoughts on Jia Zhangke's Mountains May Depart, Corneliu Porumboiu's The Treasure, Sylvia Chang's Murmur of the Hearts, Arnaud Desplechin's My Golden Days and, yet again, Hou Hsiao-hsien's The Assassin.

Hou Hsiao-hsien talks with Film Courage about his new film THE ASSASSIN (in theaters October, 16, 2015) and how throughout his lengthy and illustrious career, making films has been the most rewarding part. CONNECT WITH THE ASSASSIN: http://wellgousa.com/theatrical/the-assassin http://www.imdb.com/title/tt3508840/ http://bit.ly/1FzMElU CONNECT WITH FILM COURAGE http://www.FilmCourage.com http://twitter.com/#!/FilmCourage https://www.facebook.com/filmcourage http://filmcourage.tumblr.com http://pinterest.com/filmcourage SUBSCRIBE TO OUR FILM COURAGE YOUTUBE CHANNEL http://bit.ly/18DPN37 LISTEN TO THE FILM COURAGE PODCAST https://soundcloud.com/filmcourage-com PROMOTE YOUR MOVIE, WEBSERIES, OR PRODUCT ON FILM COURAGE http://bit.ly/1nnJkgm SUPPORT FILM COURAGE http://www.patreon.com/filmcourage

Hear two highlights from the 53rd New York Film Festival. In part one, Danny Boyle discusses his new film STEVE JOBS, and in part two, Hou Hsiao-hsien discusses the films that have inspired him. Both segments come from live events which were sponsored by HBO®. 00:00-02:23 – Intro 02:23-35:56 – Danny Boyle Interview 35:56-37:10 – Hou Hsiao-hsien Intro 37:10-01:05:09 – Hou Hsiao-hsien Interview This podcast is brought to you by The Film Society of Lincoln Center. Film Lives Here. www.filmlinc.org

Mike and Sean are still at the Vancouver International Film Festival, and are joined for this second dispatch by fellow Seattle Screen Scene critic Melissa Tamminga. They discuss new films from Hong Sangsoo (Right Now, Wrong Then), Hou Hsiao-hsien (The Assassin), Miguel Gomes (Arabian Nights), Lee Kwangkuk (A Matter of Interpretation), Jafar Panahi (Taxi) and more.

#65 City of Sadness (1989), de Hou Hsiao-hsien by Civilcinema

Een hommage aan Albert Lamorisse's Le ballon rouge uit 1956 moest het worden en dat is het misschien ook. De Taiwanese regisseur Hou Hsiao-hsien trok na het in Tokio gefilmde Cafe lumiere - met hier een daar een eerbetoon aan regisseur Ozu - opnieuw over de landsgrenzen om deze keer in Parijs zijn schijnbaar zwevende camera iets van de nationale ziel te laten proeven. Dana Linssen, Ronald Rovers en Jeroen Stout zweefden boven Parijs en keken mee.

In this episode of the Errata Movie Podcast, we have a report from the New York Film Festival, with discussion of new films by Carlos Reygadas, Gus Van Sant, Bela Tarr, Hou Hsiao-hsien, Abel Ferrara, and Jose Luis Guerin.

In this episode of the Errata Movie Podcast we talk about a recent film called Three Times made by the great Taiwanese filmmaker Hou Hsiao-hsien.