Podcasts about hou hsiao hsien

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

Host Dr Pasquale Iannone is joined by MSc Film Studies student Russell Shen to discuss two films by the great Taiwanese filmmaker Hou Hsiao-Hsien: 1987 drama Daughter of the Nile and the director's final film, The Assassin (2015).

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

https://notesonfilm1.com/2024/01/17/thinking-aloud-about-film-good-morning-taipei-li-hsing-taiwan-1979/ We return to Hou Hsiao Hsien and to Taiwanese Cinema. Hou is the screenwriter for this transitional melodramatic musical: a hit and winner of the Golden Horse Award. Part of a series of films, some in new restorations, that are being screened under the title of GOLDEN DECADES: CINEMATIC MASTERS OF THE GOLDEN HORSE AWARDS. In the podcast we discuss it in relation to the healthy realist films of a previous generation, Hou's first films as a director, Spanish musical melodramas featuring children and British 60s musicals such as LIVE IT UP. A very enjoyable film that makes us look forward to the others in the series.

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.

The “Cinephile Cuties” are ready to be young in Taipei. That's because they're chatting about Millennium Mambo.Support Casey's movie '14 Stories in a Bathroom' by investing at:https://wefunder.com/14.stories.in.a.bathroomFollow Farthouse on Twitter and InstagramFollow Patrick and Casey on TwitterAnd follow Patrick and Casey on Letterboxd

Elwood and Stephen look at Hou Hsiao-Hsien's wuxia movie The Assassin as they attempt to dissect the plot from the arthouse direction in this unique tale of revenge set during the last years of the Tang dynasty Plus Godzilla '98 re-evaluated, The Independent Podcast Awards + Ran and Punk Samurai reviewed and more!! Buy us a coffee and support the showCheck out our sponsor: Yes Please Vintage

In this episode of Heroic Purgatory: An Asian Cinema Podcast, John and Jason discuss the highly acclaimed 2015 film, The Assassin, directed by Taiwanese master Hou Hsiao-Hsien. We talk about the film's cinematography, editing, action, its mythic origins, and whether or not it deserves its numerous accolades. We hope you enjoy. Timestamps 3:04 - Media Consumption 27:29 - News 31:49 - Film Discussion Website link: https://heroic-purgatory.blogspot.com/2022/10/s3e9-assassin-2015.html Follow the show on Twitter: https://twitter.com/HeroicPurgatory Follow Jason: https://twitter.com/filmnohito Follow John: https://twitter.com/mildly_scifi

Avantgardistische Elektronika und frickelige Klangexperimente. ## NOKO 128 - Taiwan Ban Shou Li Tinting the everydayness of the returnees with exotic strangeness. Winter in Taiwan「臺灣」is different. the musical tastes too. influences from China and Japan are close. but local recordstores are rare now, the production of vinyl stops radically in the late 80s. the island has given rise to a great variety of city pop from the 60s onwards. for several years younger generations relive the hype. Another point worth mentioning and entirely different is the sound art label Kandala Records. a couple of friends organizes gigs and go their own independent way in improvisation, noise and avantgarde. Bàn Shǒu Lǐ「伴手禮」means small present. a collection of Taiwan groove mix cds - A Night In Taipei has finally appeared. the sound source diggin' team by Yuichi Kishino, Hideki Yachi & Ritsuko Sakata visited the local recordstores repeatedly. for the mix series they combine the best sound out of the 60s/70s - from strange mood music, psychedelic synths, city pop to children's song. different from the other asian territories such as Hong Kong and South Korea, the tropical atmospheres and looseness sounds are unique and fresh. 1. intro. Chen Ming-Chang「陳明章」- wind whistles (dust in the wind「風的口哨」_OST) [film by: Hou Hsiao-Hsien「侯孝賢」, 1986] 2. The San Sebastian Strings - pushing the clouds away [Warner Bros., 1967] 3. Tung Yung-Shen - lantern festival [Tian-Sheng Record, 1970s?] 4. The System - vampirella [Romantic Records, 1983] 5. Harry Hosono & The Yellow Magic Band -「シャンバラ通信」(shambhala signal) [Hiruko Records, 2011(orig. 1978)] 6. Depeche Mode - strangelove (midi-mix) [Sire; Mute, 1987] 7. Sandii & The Sunsetz - dhyana pura [Alfa Records, 1981] 8. Jimi Tenor feat. Impostor Orchestra - tsukemono [Puu, 2013] 9. Asa Chang & Junray - nigatsu [Leaf, 2002] 10. Joe Hisaishi - drifter… in lax [Milan, 2000] 11. The San Sebastian Strings - while drifting [Warner Bros., 1967] 12. Umitaro Abe「阿部海太郎」- all the way to find my buddies「かめのなみだ」[Theater Musica, 2012] ### Ritsuko Sakata「坂田律子」– A Night In Taipei (vol.3 excerpt) 1. Raiden Electronic Blow Band「雷電電子打撃楽隊」- tunnel marching 2. Children's Paradise - express train 3. Oscar Electronic Music Team「奥斯卡電子音楽隊」- walk, don't run 4. Fong Fei-Fei「鳳飛飛」- winding「風飛飛雲飛飛」 - - - 1. Synthesizer Electronic Magic Sound Recital「新琴」- black magic woman 2. Electric Shoot Trend Sound「電射動向演奏」- be fascinated「魅せられて」 3. Organ「棒棒」, Bang-Bang Organ Music「電子琴音楽」- remind 4. Lightning Mood Band「閃電節奏楽団」- longevity「老長壽」 - - - 1. Lightning Mood Band「閃電節奏楽団」- i'm in the mood for love 2. The Stylers - kiss me another 3. Koko「皓皓」- summer vacation plan「暑假計書」 4. First Melody Orchestra - mirn jiang yeh chyuu「岷江夜曲」 5. Children's Paradise - outro 1. Umitaro Abe「阿部海太郎」- silhouette des heures「シルエット・デ・ズール」[Theater Musica, 2012] 2. The San Sebastian Strings - you even taste like the sun [Warner Bros., 1967] 3. Morgan Fisher - yakimo [Klanggalerie, 2003] 4. John Wiggins - analog/anagram [RRRecords, 1986] 5. Aritomo「在知」- white daytime「白いひる」[Blackest Rainbow; Hakanairo, 2005] 6. Yasujiro Ozu - ka ra mo [and/OAR, 2007] 7. LYD「林育德」- connect wired [Kandala Records, 2014] ### intermission. CH51「東森新聞HD」- special food from taichung (commercial)「傳統湯圓新吃法:鹹圓仔配雞絲麵」[ETTV「東森新聞台」, 2014] 1. Fei Yu-Ching「費玉清」- wan an qu「晚安曲」(good night song) [CTV, 1979] # Nokogiribiki Weird broadcast radio since 2005. Eine Sendeübernahme von Radio Blau aus Leipzig. * https://nokogiribiki.tumblr.com/

Święta i Nowy Rok. Wyjątkowy czas, w którym spotykamy się z rodziną, odpoczywamy i... nadrabiamy filmowe zaległości. W ostatnim w roku 2021 odcinku Azja Kręci, proponujemy naszym słuchaczom przegląd najlepszych azjatyckich filmów dostępnych w polskich serwisach VOD. Pogrupowaliśmy je tematycznie w specjalne mini-maratony na kolejne dni świątecznej przerwy. Mamy nadzieję, że zestawienia te okażą się przydatne w planowaniu Waszych seansów. Odpoczywajcie, oglądajcie, słuchajcie! Wracamy w roku 2022.   P.S. Drodzy słuchacze Azja Kręci! Bardzo chcieliśmy wrzucić ten odcinek podkastu w eter jeszcze przed świętami. Niestety, do nagrania wkradł się słyszalny błąd techniczny. Mimo to, postanowiliśmy, że emisja się odbędzie. Jest jednak pewien haczyk - odcinek ten będzie dostępny tylko przez dwa tygodnie i zniknie na początku roku 2022. Słuchajcie go więc, póki jest :) Za dyskomfort dla uszu bardzo przepraszamy. Życzymy Wam wszystkiego najlepszego i wspaniałych filmowych emocji!   Filmy odcinka: Kochana rodzinka Wiosenna fala / Spring Tide / Chun Chao, reż. Yang Lina, Chiny 2019 Kłamstewko / The Farewell, reż Lulu Wang, USA, Chiny 2019 Złodziejaszki / Shoplifters / Manbiki kazoku, reż. Hirokazu Koreeda, Japonia 2018 Melodramat na ostrzu noża Song Lang, reż. Leon Le, Wietnam 2018  Służąca / The Handmaiden / Ah-ga-ssi, reż. Park Chan-wook, Korea Południowa 2016 Zabójczyni / The Assassin / Ci ke Nie Yin Niang, reż. Hou Hsiao-Hsien, Taiwan / Hongkong / Chiny 2015 Maraton kosmiczny The Silent Sea, reż. Choi Hang-yong, Korea Południowa 2021 (serial) Space Sweepers / Seungriho, reż. Jo Sung-hee, Korea Południowa 2021 Wędrująca ziemia / The Wandering Earth / Liu lang di qiu, reż. Frant Gwo, Chiny 2019 Dziewczyny z charakterem Marlina: zbrodnia w czterech aktach / Marlina the Murderer in Four Acts / Marlina si pembunuh dalam empat babak, reż. Mouly Surya, Indonezja, Francja, Malezja, Tajlandia 2017 Nasza młodsza siostra / Our Little Sister / Umimachi Diary, reż. Hirokazu Koreeda, Japonia 2015 Okja, reż. Bong Joon-ho, Korea Południowa, USA 2017 Indyjski sylwester Dangal, reż. Nitesh Tiwari, Indie, USA, UK, Australia, Kenia, Namibia 2016 Uczeń / The Disciple, reż. Chaitanya Tamhane, Indie 2020 Om Shanti Om, reż. Farah Khan, Indie 2007

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.

https://notesonfilm1.com/2021/08/24/hou-hsiao-hsien-24-contexts-14-that-day-on-the-beach-edward-yang-1982/ Two old friends reunite after 13 years apart. One was in love with the other's brother but the couple were forced to separate after he was forced into an arranged marriage with someone else and this ruined his life. His sister ran away to marry for love but ended up just as unhappy as her brother and her friend. One friend lost herself in her work and became a famous concert pianist; the other started a successful business. But what happened that day, on the beach? A poetic exegis on love, loss and happiness with a focus on women's perspectives and experiences; a melodrama in art cinema mode, with gorgeous images beautifully shot by Christopher Doyle. Hou hsia-hsien appears as part of a gang of boisterous Wall Street types.

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,

A discussion of OUR TIME, OUR STORY, a more traditional documentary than FLOWERS OF TAIPEI but all the better for it. A film with various kinds of contexts (production, distribution, exhibition, reception) that historicises well, finds extraordinary archival footage, interviews many of the leading people involved in Taiwan's New Cinema and really enhances our knowledge of the period, the movement, and the films themselves. The clips in the film really make us appreciate how new restorations have enhanced the visual beauty of these films.

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.

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.

Fei Yanqiu 费艳秋 is a globe-trotting cinematographer based in Shanghai, China. She first learnt cinema by running around the rainforests of South-East Asia with a 16mm camera. She was nominated for Best Cinematography at the Milan International Film Festival (The Lobster Kid) and Golden Eagle Awards (Yamome, Japan). Her work has screened and won awards at Oscar-qualifying festivals including a Mention Spéciale du Jury at Clermont-Ferrand International Short Film Festival (Disco Obu, India), a Reel Golden Award at LA Asian Pacific Film Festival (The Lobster Kid, Taiwan), Durban international film festival (Back to Hometown, China), and various other projects. Yanqiu holds a MFA in Film from New York University. She's also a proud alumna of the Asian Film Academy and Golden Horse Film Academy, where she was mentored by Hou Hsiao-Hsien. She hopes to continue to explore the extraordinary stories of ordinary people through the magic of cinema. Join us on WeChat: THD_OfficialInstagram: thehonestdrink_Email: thehonestdrink@gmail.comFind us on: Apple, Spotify, 小宇宙, 网易云音乐, 喜马拉雅, Bilibili, YouTube...

https://notesonfilm1.com/2021/06/21/hou-hsiao-hsien-18-context-9-flowers-of-taipei-taiwan-new-cinema-chinlin-hsieh-2014/ A discussion of FLOWERS OF TAIPEI, a documentary on Taiwan New Cinema. José saw it twice; the first time finding it interesting but almost instantly forgettable; the second time it incensed him, seeming an attempt to get a production to pay for a director's networking opportunities rather than a work that actually illuminates what Taiwan New Cinema might be; its history, contexts, development. We do get to see it's impact on major names from East Asia. Richard is as always the voice of reason.

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.

https://notesonfilm1.com/2021/06/13/hou-hsiao-hsien-16-contexts-7-dangerous-youth-hsin-chi-1969/ Continuing with our discussion of Hsin Chi films. This time the focus is on DANGEROUS YOUTH. We offer a bit of background on Hsin Chi; discuss how the film is similar to Nagisa Oshima's CRUEL STORY OF YOUTH, Godard's BREATHLESS, BEAT GIRL, and all the motorcycle gang Roger Corman films of the mid-sixties. The film has the thematics and energy of pre-code sex melodramas but surrounded by a rock-pop soundtrack stylised and transformed by foregrounding the sax. DANGEROUS YOUTH is visually inventive, with fascinating compositions, interesting intimations of nudity through shadows, compositions that make the most of the architecture to suggest interior states and external perspectives. The story of a young girl groomed into prostitution for money by the pimp she loves and the richer woman who is pulling his strings, is given sexy, noirish form and fascinating gender politics. Does anyone believe the end?

https://notesonfilm1.com/2021/06/11/hou-hsiao-hsien-15-contexts-6-foolish-bride-naive-bridegroom-hsin-chi-1967/ We continue our discussion of the films kindly made available in wonderful versions by the Taiwan Film and Audiovisual Institute. This time we discuss the second Hsin Chi film on view, FOOLISH BRIDE, NAIVE BRIDEGROOM, a wonderfully inventive screwball comedy displaying a wide array of cinematic devices for humours effect (stop-motion, music, fluid camera), anchoring it in solid structure, set on the cusp of modernity, and humorously putting all the major decisions on the hands of the female protagonists. Great fun.

https://notesonfilm1.com/2021/06/09/hou-hsiao-hsien-14-contexts-5-the-bride-who-returned-from-hell-hsin-chi-1965/ We discuss THE BRIDE WHO RETURNED FROM HELL, from a cycle of Hsin Chi films the Taiwan Film and Audiovisual Institute is currently providing free on Youtube and in excellent restorations. We discuss its debt to Rebecca, Strangers on a Train, The Innocents, the Bond films, melodrama and the Gothic. We talk about its formal inventiveness in its use of a rotating camera and split screen. We also explore how its interspersed with musical numbers that often take place amongst a recognisable landscape. It's a Taiwanese film where one can't help but note its transnational dimension. It's a film we both liked and recommend.

https://notesonfilm1.com/2021/06/07/hou-hsiao-hsien-13-contexts-4-may-13-day-of-sorrows-lin-tuan-chiu-1965/ We once more thank the Taiwan Film and Audio-Visual Institute for the opportunity to see these marvellous copies of Lin Tuan-Chiu film. In the podcast we discuss the combination of genres in the film -- melodrama, court-room drama, documentary, murder-mystery, musical. We discuss the acting in relation to theatrical revue. We wonder if a scene from Hou's Cute Girl finds its inspiration here....and much more.

https://notesonfilm1.com/2021/06/05/hou-hsiao-hsien-11-contexts-b-kind-hu-dragon-inn-1967-a-touch-of-zen-1971/ In this podcast we discuss the recent MUBI showings of Dragon Inn and A Touch of Zen, its relationship to the Wuxia genre and its influence on films such Crouching Tiger/ Hidden Dragon (Ang Lee, 2000), Hero (Zhang Yimou, 2002) and House of Flying Daggers (Zhang Yimou, 2004, its later influence on more recent Taiwanese cinema, so obvious in Tsai Ming Liang's Goodbye, Dragon Inn and Hou's own The Assassin (2015).

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/2021/05/26/hou-hsiao-hsien-9-daughter-of-the-nile-1987/ We discuss Daughter of the Nile as a transitional film for Hou, the relatively few  locations (the house, KFC, the nightclub, the beach etc) in which the film is set, the now typical Hou way of filming from repeating fixed camera positions with little or no movement; the way the protagonist remains relatively unknowable, the fractured family on the edges of criminality across generations, the lack of judgment on that, the continued use of fart jokes, the context in which the film was made (end of Martial law, ongoing relationship with American consumer culture etc). A film José didn't quite like as much as Richard but which nonetheless rewarded a second viewing.

https://notesonfilm1.com/2021/05/21/hou-hsiao-hsien-8-dust-in-the-wind-1986/ A beautiful film, a continuation of a cycle of autobiographical films (The Boys From Fengkuei, A Summer at Grandpa's). We continue our discussion of framing, ellipses, cinema, letters, the country and the city, heartbreak and exploitation, and all those other formal and thematic elements that make Hou's cinema so great.

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!

https://notesonfilm1.com/2021/05/09/thinking-aloud-about-film-hou-hsiao-hsieng-5-the-boys-from-fengkuei-aka-all-the-youthful-days-1983/ Hou has described this as the favourite amongst his films. Richard and José discuss why this might be so: the compositions; the long takes that allow for action vertically, horizontally, and on different planes of the image. The juxtaposition between the rowdy teenage delinquency we see with the classical musical. The easy ellipsis into memory. The evident influence of Italian neo-realism, particularly Visconti's Rocco and His Brothers, which is explicitly referenced and Fellini's I Vitelloni, which has a similar set-up. We discuss the falling into place of a particular style that would come to be associated with the director and why we think the film ends up being so beautiful and moving.

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.

In this podcast, Richard and I discuss how much we both like this film, an early one of Hou's that we argue continues to be largely dismissed in account of his work. Here we admire what we see as his growth as a filmmaker: the increasing use of expressive long-takes, the filming from the inside of trains, the imaginative compositions, the handling of many people in the frame whilst still keeping dramatic focus, the deft control over various narrative threads. We notice that this is the third time in three fllms that we get scatalogical jokes but how now they're not used as superficial toppers but instead evoke character and feeling as well as laughs. There are songs and there is romance but we discuss how there is also much more than that: a highly skilled and enjoyable work. The blogpost for the podcast with more links and information is at: https://notesonfilm1.com/2021/05/01/thinking-aloud-about-film-hou-hsia-hsien-3-the-green-green-grass-of-home-1982/

https://notesonfilm1.com/2021/04/28/thinking-aloud-about-film-hou-hsiao-hsien-2-cheerful-wind-aka-play-while-you-play/ Thinking Aloud About Film continues it's exploration of the cinema of Hou Hsia-hsien with a discussion of Cheerful Wind aka Play While you Play, a charming musical romantic comedy, an exploration of filmmaking itself, and a re-teeming of the cast that made the previous Cute Girl such a success.

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.

Watch the SUNDANCE SELECTED short film here: https://www.nytimes.com/video/opinion/100000007247238/tears-teacher.html TEARS TEACHER "Yoshida is a self-proclaimed 'tears teacher': he makes people weep." The documentary “Tears Teacher” screened at Sundance and Hot Docs, and was acquired by the New York Times. It was featured on The Japan Times, Thrillist, etc and has already played in more than 25 festivals. Writer/Director NOEMIE NAKAI - Twitter: @NoemieNakai - https://www.instagram.com/noemienakai/ - https://noemienakai.com/ Noemie is a Japanese and French writer/director, whose short films were shown in numerous festivals worldwide - Sundance, Hot Docs, Short Shorts Asia, Exit6... - and were acquired by The New York Times and Film Movement for distribution. She has been selected for the Sundance / NHK lab, the Berlinale-ran Talents Tokyo and the BFI x BAFTA crew programs. Her feature in development received the main award at Busan film festival's Asian Project Market, following in the footsteps of Hou Hsiao Hsien, Kurosawa Kiyoshi and Bong Joon-ho to name a few. DP SHEN LIN - Twitter: @TheShenCA - https://www.instagram.com/the_shenger/ - https://www.the-shen.com/ Shen Lin is a Chinese-Canadian Cinematographer currently based in Japan. Upon graduating from the University of Toronto, the Vancouver Film School and Capilano University, Shen worked as a camera assistant in Canada. He then moved to Tokyo, where he's been working as a cinematographer on multiple international productions ranging from commercials and music videos to documentaries and features. His clients include Apple, Lexus, Paramount, Yamaha, Dazed China, Samsonite, Redbull, HITACHI, Haier, etc. Some of the notable talents he has collaborated with include Ed Sheeran, Henry Golding, Fan Bingbing, etc. Composer KYO ACERBIS KITAYAMA - Twitter: @kyoakmusic - https://www.instagram.com/kyoak/ - http://www.kyoakmusic.com/home-.html Kyo Acerbis Kitayama is a French-Japanese film-composer residing in Japan. He graduated from Berklee College of Music in Boston, where he studied Film Scoring and Conducting. Singer-songwriter and arranger, his musical interests range from traditional Japanese music, electronic composition to orchestral music. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/bravemaker/support

durée : 00:53:37 - Le Masque et la Plume - par : Jérôme Garcin - Vos critiques ont-ils été séduits par "Hotel by the river" de Hong Sang-Soo, "Light Of My Life" de Casey Affleck, "The Climb" de Michael Angelo Covino, "Madre" de Rodrigo Sorogoyen, "Terrible jungle"de Hugo Benamozig et David Cavigli, "Les Fleurs de Shanghai" de Hou Hsiao-Hsien, "Flash Gordon" de Mike Hodges ?

[EU] Carla Simón gonbidatu dugu gure soinu-espazio birtual honetara, bere hurrengo proiektua, behin-behinean Alcarrás izena duen film berria, zer izango den konta diezagun.[ES] Invitamos a Carla Simón a nuestro espacio sonoro virtual para que nos cuente lo que será su siguiente proyecto, una nueva película que lleva por título provisional Alcarrás.00:00 Prólogo para una nota de voz que describirá la primera imagen.00:13 Intro. Esto es el futuro. Esto es un zoom. Esto es un campo de melocotones.03:39 Paisaje sonoro 1. Con fragmentos de Tropical Malady (2004) y Uncle Boonmee Who Can Recall His Past Lives (2010) de A. Weerasethakul y Chocolat (1988) de Claire Denis.04:12 Una película en espera. Rodar / No rodar en tiempos de pandemia.Cuando los melocotones no esperan.09:54 Ensayos virtuales a distancia con no actores o un poco de calma hasta que pase la situación actual.12:02 Un título que todavía no es un título.13:51 ¿Una película western? O cómo mezclar el realismo de las películas italianas y el lejano oeste.16:58 Biografía, escritura y cine de recuerdos.Seguido de unos apuntes sobre la agricultura familiar.21:44 Ir pasando etapas del proceso creativo y cómo otras películas ayudan a veces a imaginar lo que está aún por rodar.25:04 Paisaje sonoro 2. Con fragmentos de Los chicos de Fengkuei (1983), Hou Hsiao-Hsien. Y después una mascota (la vaca Margarita).28:01 Magia y tradiciones africanas en el campo catalán (y otra vez Claire Denis al fondo del paisaje).30:21 Una película coral y de emociones.Seguido de unas notas sobre Lucrecia Martel y la atención.33:58 El primero sonido. Y música que atraviesa generaciones.36:26 La fuga de Alcarrás y el circuito internacional donde hoy en día se escriben las películas. Cómo conectar con el mundo y con una misma.39:39 Poder decir: “Esta es mi manera de trabajar”.42:02 Control y caos: maneras de abordar un rodaje.45:37 Ejercicios de futuro: el vértigo de las primeras semanas de montaje.47:50 Lo inesperado49:29 Epílogo con paisaje sonoro final.

En este episodio Carlos Esquives, crítico de cine de Fotograma Gourmet, comenta tres estrenos recientes liberados en Netflix: "Ya no estoy aquí", de Fernando Frías de la Parra; "Da 5 Bloods", de Spike Lee; y "Tigertail", de Alan Yang. Sobre la película mexicana, se comenta sobre la mirada exótica hacia el género musical Kolombia, la migración, la violencia en México y la devastación de una identidad. En la película de Lee, se comenta sobre la hermandad, la unidad y el racismo para el director. Y en la última, se hace una referencia al cine de Hou Hsiao Hsien, el cine biográfico e histórico, la melancolía, el amor platónico y los lazos familiares.

Being the metropolitan area newspaper's film critic has its set of burdens and responsibilities to a number of diverse audiences, but for Justin Chang, those challenges are multiplied by the the odd nature of Los Angeles as the movie capital of the  world. In this final episode from the City  of Angels as Peter says adios to the city he's called home for the last five years, he sits down with the former Variety and current Los Angeles Times critic to explore how to look and consider the industry and the various entanglements that expand out from it. Justin explains his growth from intern to critic within the city's oldest trade publication to the issues of representation and politics within Hollywood today. The two cap off their conversation by looking at Hou Hsiao-Hsien's strange and hypnotic Flowers of Shanghai, looking at how the director lays clues throughout to explore a 19th century brothel wrapped into a romantic mystery. 0:00–3:11 Opening3:51–11:39 Establishing Shots — Celebrating Seven Years of The Cinephiliacs12:24–1:04:31 Deep Focus — Justin Chang1:05:28–1:09:15 Sponsorship Section1:10:27–1:28:49 Double Exposure — Flowers of Shanghai (Hou Hsiao-Hsien)1:29:02–1:31:29 Close / Outtake

Cadavre exquis de ce qui se fait de mieux dans le réseau des radios Campus. Tout l'été retrouvez les émissions produites pendant la saison ! - NOUS SUIVRE | www.radiocampus.fr Insta @radio_campus TW @radiocampus FB @radiocampus NOUS ECOUTER | liste des fréquences FM sur www.radiocampus.fr webradio: http://bit.ly/RCFRenDIRECT

Cadavre exquis de ce qui se fait de mieux dans le réseau des radios Campus. Tout l'été retrouvez les émissions produites pendant la saison ! - NOUS SUIVRE | www.radiocampus.fr Insta @radio_campus TW @radiocampus FB @radiocampus NOUS ECOUTER | liste des fréquences FM sur www.radiocampus.fr webradio: http://bit.ly/RCFRenDIRECT

In our 5th episode Brandon & Tyler discuss the 2015 Film The Assassin, directed by Hou Hsiao-Hsien. Stream The Movie From: AmazonGoogle Play Movies Follow us on on Twitter, @FilmFoilPodcast, and Facebook Brandon’s Twitter: @BrandoV2 Tyler’s Twitter: @TylerJRinne Music - "Golden Sunrise" by Josh Woodward. Free download: http://joshwoodward.com/

Edward Yangs "glemte klassiker" «Taipei Story» er et av nøkkelverkene i den taiwanesiske filmens gullalder på 1980- og 90-tallet, og i denne podkasten diskuterer vi vårt første møte med filmen i nyrestaurert utgave, og hvordan Yang og kollega Hou Hsiao-Hsien (som spiller hovedrollen i «Taipei Story» og er medmanusforfatter) bidro til å gi et distinkt filmspråk til den taiwanesiske epoken de var en essensiell del av.

Tim Platt (UCB House Team, Cartoon Monsoon) talks mutual friends, being an underground cartoonist, and Hou Hsiao-Hsien's biopic The Puppetmaster.

Derrière le micro pour débattre autour de The Assassin, The Revenant et Avé César, les trois compères Lucien Halflants, Manuel Haas et Olivier Grinnaert remettent le couvert en toute décontraction accompagnés en fin d'émission par l'inénarrable Docteur Rezzo pour un petit tour d'horizon de l'actualité du cinéma bis et horrifique entre le dernier festival de Gérardmer et le festival Offscreen de Bruxelles. Le sommaire : 00:00 - Introduction + Festival Offscreen 06:13 - Ave César 15:20 - The Revenant 34:20 - The Assassin 30:20 - Les conseils 33:40 - "L'Ordonnance du Dr Rezzo"

Conhecido principalmente por seus filmes sensíveis sobre os afetos contemporâneos, o aclamado cineasta Hou Hsiao-Hsien surpreendeu (e ganhou o prêmio de Melhor Direção) no Festival de Cannes de 2015 com o épico de artes marciais "A Assassina". Com o filme finalmente estreando no Brasil, Lucas Gesser, Glênis Cardoso e Bárbara Cabral (ambas do site https://verberenas.com/) conversam sobre o filme sobre sua proposta de desconstrução do subgênero de Wuxia. Participantes: Lucas Gesser, Glênis Cardoso e Bárbara Cabral Estúdio: FM2 Àudio Técnico de Som: Mauricio Fonteles Edição: Lucas Gesser Mixagem e Masterização: Mauricio Fonteles Arte Gráfica: Pedro Neto

“A Assassina", de Hou Hsiao-Hsien, é o destaque na Resenha de Renato Silveira. No quadro Perfil, Pedro Vieira fala sobre a atriz Natalie Portman, que acaba de lançar seu primeiro longa como diretora. No quadro Mulheres no Cinema, a gente relembra com Adilson Marcelino a trajetória da cineasta Tetê Moraes, diretora de "Terra Para Rose". Você também conhece as atrações da mostra Inéditos/Passou Batido, em cartaz no Cine Humberto Mauro. Tem ainda as últimas novidades da sétima arte, sempre no embalo do melhor das trilhas sonoras do cinema brasileiro. O post CINEFONIA – Edição #58 apareceu primeiro em cinematório.

Le Wilson Club - 4 - The Assassin *Désolé pour la qualité du son non optimum pour cet épisode, nous avons à nous améliorer! Au programme, le film “The Assassin” (Nie yin niang) de Hou Hsiao-Hsien (2015) Animé par Ben twitter.com/Benlamba et Mat twitter.com/Mat_script Bonus: La Cité interdite (Man cheng jin dai huang jin jia) (2006) de Zhang Yimou Où nous retrouver: https://twitter.com/LeWilsonClub/ https://www.facebook.com/Le-Wilson-Club-862422193866359/ https://soundcloud.com/le-wilson-club/ Crédit: Emission enregistrée le 25 mars 2016 en Suisse

On this week Sam went to see smash hit comedy Zoolander 2 with Ben Stiller, Owen Wilson and the rest of the gang reprising their roles as the clueless but lovable ridiculously good looking models. He was baffled by a large sprawling film which seemed to mainly consist of political machinations in 9th century China and definitely didn't have Ben Stiller in it. It was only when the credits rolled that he realised that he'd actually gone to wrong screen and had watched the entirety of The Assassin, a sumptuous epic from esteemed Taiwanese director Hou Hsiao-Hsien....so he reviewed that instead. Meanwhile Danny went to check out Alvin and Chipmunks: The Road Chip. He was initially impressed by the stellar A list cast- Ralph Fiennes as Alvin with Tilda Swinton, Matthias Schoenaerts and Dakota Johnson as the chipmunks?! It all seemed to implausible to be true and it turned out it was as what he'd actually watched was A Bigger Splash - a film about sexy rich people hating each other on a beautiful Italian island. He didn't mind though because he thought it was like well good. They also discuss the latest news from enfant terrible, agent provocateur Danish wunderkin Lars Von trier......and wonder if Stephen Fry was replaced with a life size cut out of Stephen Fry which just emitted a string of sycophantic adjectives every four minutes anyone at the Baftas would notice. See acast.com/privacy for privacy and opt-out information.

Frank Flaherty (The Special without Brett Davis) talks tech, horror, and Hou Hsiao-Hsien's signature enigmatic style with the well regarded Flowers of Shanghai. We may or may not regard the movie quite as well as those fancypants critics who seem to live in film festivals and also up their own butts.

Matt and Alison discuss Hou Hsiao-Hsien's gorgeous wuxia movie THE ASSASSIN and recommend some other martial arts movies you can rent or stream at home right now. Their picks may or may not be fast as lightning. Filmspotting: SVU is brought to you by Movies On Demand On Cable.   Learn more about your ad choices. Visit megaphone.fm/adchoices

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.

Planète Sauvage, épisode 36 : tous les courts extraits audio et samplings vocaux proviendront des films d'Andrzej Zulawski. Côté musique on visite quelques films de genre italiens, on fait un détour à Taiwan et au retour on découvre des rites occultes. Les univers de Kenneth Anger, Hou Hsiao Hsien, Giulio Paradisi, les sons de Cipriani, Reznor, Korzynski, The Residents et bien plus..

Planète Sauvage, épisode 36 : tous les courts extraits audio et samplings vocaux proviendront des films d'Andrzej Zulawski. Côté musique on visite quelques films de genre italiens, on fait un détour à Taiwan et au retour on découvre des rites occultes. Les univers de Kenneth Anger, Hou Hsiao Hsien, Giulio Paradisi, les sons de Cipriani, Reznor, Korzynski, The Residents et bien plus..

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.

The Assassin is the first film from Taiwanese director Hou Hsiao-Hsien for 8 years and his take on 'wuxia', a martial hero genre of Chinese fiction traditionally found in literature. The plot re-imagines a Tang Dynasty legend about a female assassin, and stars Shu Qi. Mark Eccleston reviews.Crime writer Peter May returns to the Hebrides for his latest novel, Coffin Road, in which a man washed up on a beach with no memory of who he is, searches for clues to an identity which may prove him a murderer.Attacking the Devil: Harold Evans and the Last Nazi War Crime is a new film documentary which charts Harold Evans's tenure as editor of The Sunday Times. The film's co-directors Jacqui and David Morris discuss the film and their focus in particular on the investigation by Evans's Insight team to expose the truth behind the thalidomide scandal of the late 50s and early 60s, that left thousands of babies born with severe physical deformities.Presenter: Kirsty Lang Producer: Ella-mai Robey.

Wir sprechen über THE ASSASSIN, den neuen Film von Hou Hsiao-Hsien und überlegen, ob man ihn als Eintrag ins Martial Arts Genre klassifizieren sollte. Außerdem zeigen wir uns beeindruckt von dem traumhaften Film ENDORPHINE. Zudem ein Mitschnitt vom Q&A mit Regisseur André Turpin. Zudem besprechen wir weitere Filme vom Filmfest Hamburg. Mit dabei REMEMBER & COSMODRAMA. Und der neue Film mit Jason Segel und Jesse Eisenberg THE END OF THE TOUR. Timecodes: 01:46 The Assassin / 27:46 Remember / 35:13 End of the Tour / 43:10 Cosmodrama / 51:34 Endorphine / 01:16:26 Q&A André Turpin (Ausschnitte aus den Filmen unterliegen dem Copyright des entsprechenden Filmverleihs und werden aus rein journalistischer Intention unkommerziell genutzt.)

Some film festivals have an easy time when their mission is set on any and all new movies with premieres from around the world. But how do you program for a niche? Glenn Heath Jr. works as the Managing Director for the Pacific Arts Movement, which is returning with another iteration of the San Diego Asian Film Festival. Some of the names will be familiar to cinephiles: Johnnie To, Sion Sono, Apichatpong Weerasethakul. But what about the big blockbusters that never come to American shores, or the Asian American filmmakers waiting to be discovered? Glenn talks about the delights and challenges of working on such a festival, as well as his work in film criticism in writing about lost and forgotten films while never throwing down the gauntlet. Finally, the two wrap up their conversation by turning to Jim Jarmusch's 1995 acid western Dead Man, and explore why the film's poetic tone and awkward humor allow it to transcend beyond a "revisionist western." Plus, excerpts from an interview with acclaimed Taiwanese director Hou Hsiao-Hsien, who has returned to screens with his contemplative wuxia epic The Assassin. 0:00-3:35 Opening4:30-12:42 Establishing Shots - Hou Hsiao-Hsien discusses The Assassin13:27-1:12:03 Deep Focus - Glenn Heath Jr.1:12:42-1:15:15 Mubi Sponsorship1:16:20-1:46:09 Double Exposure - Dead Man (Jim Jarmusch)1:46:13-1:47:51 Close

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

ICRT News and correspondents discuss the week¡¦s top stories including the KMT primary which has narrowed down to Deputy Legislative Speaker Hung Hsiu-chu, torrential rains in Taiwan¡¦s South, and Taiwanese director Hou Hsiao-Hsien's nod at Cannes.

ICRT News and correspondents discuss the week¡¦s top stories including the KMT primary which has narrowed down to Deputy Legislative Speaker Hung Hsiu-chu, torrential rains in Taiwan¡¦s South, and Taiwanese director Hou Hsiao-Hsien's nod at Cannes.

Villa de Cura celebra 293 años de su fundación El abuelo del Liberador, Don Juan Bolívar De Villegas, hoy; fundó tal día como hoy 25 de mayo de 1722, la población de Villa de San Luis Rey de Cura hoy conocida como Villa de Cura o simplemente La Villa. La tradición dice que su génesis fue cuatro casitas y una capilla Escuchemos la canción de Valdemar Oliveros interpretada por los Niños Cantores de Villa de Cura, Villa de Cura en honor a su ducentésimo nonagésimo tercer aniversario en Rosita al Mediodía Dheepan Gana Palma de Oro en Canes La película del francés Jacques Audiard, dio hoy la gran sorpresa y se llevó la Palma de Oro de la 68° edición del Festival de Canes. La película, sobre la inmigración y el amor, es protagonizada por un exguerrillero tamil que atravesó una situación muy parecida a la del personaje que interpreta. Una película que comienza en Sri Lanka, donde Dheepan, un guerrillero de los Tigres de Tamil necesita una mujer y una hija para poder huir. Yalini y la huérfana Illayaal se unen a él en un viaje que les llevará a ser inmigrantes ilegales en un barrio periférico de París, donde la violencia urbana sustituye a la violencia de guerra civil de su país de origen. "No quería hacer un documental sobre la guerra en Sri Lanka ni un documental sobre una ciudad", precisó el realizador sobre una película que no da muchos detalles del contexto en el que se desarrolla la historia de esta pareja. ESCUCHEMOS A WISIN A CARLOS VIVES Y A DADDY YANKEE Y EL EXITO NOTA DE AMOR EN ROSITA AL MEDIODIA Otros Ganadores del Festival de Canes En la categoría de Mejor Actor por su papel de desempleado en el drama "La Loi du Marché", de Stéphane Brizé. "Es el primer premio que me dan en la vida", dijo la estrella al recibir el galardón. En la categoría de Mejor Director, el taiwanés Hou Hsiao-Hsien resultó ganador por la película de artes marciales "The Assassin". El mexicano Michel Franco y su "Chronic", un impactante retrato de un enfermero que acompaña en el tránsito a la muerte a pacientes en estado terminal, obtuvieron el premio al Mejor Guión. En tanto, la película "Son of Saul", una impactante historia que se desarrolla en un campo de concentración, del joven cine asta húngaro Laszlo Nemes, fue galardonada con el Gran Premio del festival de Cannes. ESCUCHEMOS LA CANCION RETRO A MERCEDES SOSA Y LA CANCION GRACIAS DOY A LA VIDA EN ROSITA AL MEDIODIA ESCUCHEMOS A ENRIQUE IGLESIAS Y NIKY JAM EL EXITO PIDO PERDON EN ROSITA AL MEDIODIA Tierra del Mañana Primera en Taquilla este Fin de Semana La aventura de ciencia ficción de Disney "Tomorrowland", protagonizada por George Clooney, se ubicó primera en la taquilla norteamericana en su fin de semana de estreno, según datos provisorios publicados este domingo. El filme dirigido por Brad Bird, que relata el encuentro entre una niña curiosa y brillante (Brit Robertson) y un científico decepcionado (Clooney), y su visita a un lugar que parece existir solo en su memoria, recaudaría 40,7 millones de dólares en el fin de semana largo de Memorial Day, de acuerdo a las cifras de la empresa Exhibitor Relations. La película relegó al segundo lugar a la comedia musical "Pitch Perfect 2", que se alzaría con 38 millones entre viernes y lunes, en Estados Unidos y Canadá. La saga de la exitosa comedia de 2012 que cuenta las aventuras de un grupo de canto a capela formado exclusivamente por chicas en sus años universitarios, es protagonizada por Anna Kendrick y Rebel Wilson. Tercera quedó "Mad Max: Furia en el Camino", cinta de a saga postapocalíptica del australiano George Miller que recaudaría 30 millones en su segundo fin de semana en las salas de cine. En el cuarto lugar está el estreno de la 'remake' en 3D del clásico de terror "Poltergeist" (USD 27,7 million), que cuenta la inquietante historia de una familia cuyo hogar es inundado de fuerzas malignas que secuestran a su hija menor. ESCUCHEMOS A DAVID GUETTA Y NIKY MINAJ HEY MAMA EN ROSITA AL MEDIODIA Jennifer Lawrence en X-Men Apocalipsis Jennifer Lawrence y su expareja, Nicholas Hoult, se reencontraron en el set de X-Men: Apocalipsis para comenzar el rodaje. Bryan Singer, director a cargo de la película, compartió en su cuenta de Instagram una fotografía del inicio del rodaje donde aparece escoltado por Jennifer Lawrence y Nicholas Hoult. "De regreso con los chicos", escribió el cineasta como leyenda de la imagen. En la cinta, Jennifer Lawrence interpreta a Mystique. Por su parte, Nicholas Hoult es La bestia. La actriz ha asegurado que, tras X-Men: Apocalipsis, no volverá a participar de una cinta de esta saga. Hoult no se ha referido al respecto. ESCUCHEMOS A TAYLOR SWIFTH Y EL EXITO BAD BLOOD EN ROSITA AL MEDIODIA Gabriel Correa nuevo Mister Venezuela 2015 La noche de este sábado se llevó a cabo la elección del Mister Venezuela 2015, El participante Gabriel Correa se convirtió en el nuevo Míster Venezuela 2015. Catorce jóvenes venezolanos, en edades comprendidas entre los veinte y los veintiocho años, se apuntaron con energía al concurso Míster Venezuela, que la noche de hoy animan Kerly Ruiz y Maira Alexandra Rodríguez. El jurado, como era de esperarse, estuvo comandado por las mujeres: Alexandra Braun, Ana Alicia Alba, Mariela Celis, Fanny Ottati, Alejandra Sandoval, Amanda Herrera, la madre de la Macarena, entre otras. Los cinco finalistas fueron del concurso fueron. Gibson Domínguez, Georges Biloune, Rafael Angelucci, Gabriel Correa y Rafael Oropeza. El participante Gabriel Correa se destacó en gran parte de la competencia, lo cual lo impulso para obtener el triunfo en el concurso ESCUCHEMOS A REIKON Y DADDY YANKEE Y EL EXITO IMAGINANDOTE EN ROSITA AL MEDIODIA Bárbara Mori dono su cabello Bárbara Mori se sumó al movimiento “Do The Shake”, impulsado por la Fundación Ellen Reigner de Casas y que ayuda a personas de escasos recursos con cáncer en Colombia. La actriz compartió en Instagram una imagen del momento en el que le cortaron el cabello y entre sus manos sostiene la trenza del mismo cabello que donó. “Todo mi amor para las personas que atraviesan por el cáncer”, escribió Mori acompañando la fotografía. ESCUCHEMOS A CHINO Y NACHO Y EL EXITO ME VOY ENAMORANDO EN ROSITA AL MEDIODIA ESCUCHEMOS A NI TAN BIONICA Y HOLA MI VIDA EN ROSITA AL MEDIODIA SUECIA Gana El Festival De Eurovision 2015 Conchita Wurst ya tiene heredero. En una de las finales más disputadas de los últimos años, en la que Italia, Suecia y Rusia han estado bastante igualados en las votaciones, finalmente el cantante sueco Måns Zelmerlöw ha ganado el Festival de Eurovisión 2015 con la canción "Heroes". Se trata de la sexta vez que Suecia gana el Festival de Eurovisión, después de Loreen (2012), Charlotte Nilsson (1999), Carola (1991), Hermanos Herreys (1984) y Abba (1974 con "Waterloo"). A sus 28 años, Måns Zelmerlöw ha hecho realidad uno de sus mayores sueños: ganar el Festival de Eurovisión. Y lo ha hecho con la satisfacción de ser el gran favorito desde que el pasado 14 de marzo ganara el Melodifestivalen con "Heroes"y consiguiera así el pasaporte para representar a Suecia en Eurovisión. El cantante siempre ha explicado que esta canción con influencias electrónicas y estribillo pegadizo habla de los problemas que tenía para hacer amigos cuando era un niño. Pero la verdadera fuerza de esta canción, lo que de verdad le ha hecho ganar el Festival, está en su puesta en escena, en la que el cantante interactúa con una imágenes proyectadas. ESCUCHEMOS A MANS ZELMERLOW Y LA CANCION GANADORA HEROES EN ROSITA AL MEDIODIA ESCUCHEMOS A MIRANDA Y FANTASMAS EN LA CASA EN ROSITA AL MEDIODIA ESCUCHEMOS A CHAYANNE Y MADRE TIERRA EN ROSITA AL MEDIODIA ESCUCHEMOS A LUIS FONSI Y EL EXITO QUE QUIERES DE MI EN ROSITA AL MEDIODIA ECOLOGIA La Segunda Represa De Agua De Venezuela Se Seco La falta de mantenimiento de la infraestructura de la represa llena de averías y fugas de agua, aunado a la falta de previsión ante la información meteorológicas y el cambio climático que azota al país de un largo verano y altas temperaturas hicieron posible que la segunda represa de agua de Venezuela se secara ocasionando que la población de Calabozo no cuente con el preciado líquido y sus pobladores tener que comprar agua a traves de cisternas de alto precios ya que la empresa hidrológica no colabora con los habitantes aunque estos estén al día con los pagos del servicio. Y en el caso de la principal actividad productiva del municipio miranda que es la producción de arroz se verá paralizada para los próximos ciclos de norte verano ya que no se contara con el preciado líquido haciendo que la región sea improductiva y merme su economía. La situación es altamente grave por lo que desde esta ventana hago un llamado de alerta ante este drama social para que las autoridades competentes se aboquen a tratar de buscar soluciones o alternativas ante la problemática que afecta a la población del municipio Miranda. ESCUCHEMOS A VICTOR PORFIRIO Y LALALA EN ROSITA AL MEDIODIA ESCUCHEMOS A ABEL PINTO Y EL EXITO DE SOLO VIVIR EN ROSITA AL MEDIODIA

Chinlin Hseih, Director, Flowers of Taipei. Festival Section: Venice Classics From first-time director Chinlin Hseih comes FLOWERS OF TAIPEI – TAIWAN NEW CINEMA, a documentary that, with the help of some fantastic contributors like Olivier Assayas and Palme D’or winner Apichatpong Weerasethakul pays homage to some of the innovative, creative Taiwanese directors like Hou Hsiao-Hsien [...] The post Chinlin Hseih, Flowers of Taipei, #Venezia71 appeared first on Fred Film Radio.

Chinlin Hseih, Director, Flowers of Taipei. Festival Section: Venice Classics From first-time director Chinlin Hseih comes FLOWERS OF TAIPEI – TAIWAN NEW CINEMA, a documentary that, with the help of some fantastic contributors like Olivier Assayas and Palme D’or winner Apichatpong Weerasethakul pays homage to some of the innovative, creative Taiwanese directors like Hou Hsiao-Hsien [...] The post Chinlin Hseih, Flowers of Taipei, #Venezia71 appeared first on Fred Film Radio.

Chinlin Hseih, Director, Flowers of Taipei. Festival Section: Venice Classics From first-time director Chinlin Hseih comes FLOWERS OF TAIPEI – TAIWAN NEW CINEMA, a documentary that, with the help of some fantastic contributors like Olivier Assayas and Palme D’or winner Apichatpong Weerasethakul pays homage to some of the innovative, creative Taiwanese directors like Hou Hsiao-Hsien [...] The post Chinlin Hseih, Flowers of Taipei, #Venezia71 appeared first on Fred Film Radio.

Chinlin Hseih, Director, Flowers of Taipei. Festival Section: Venice Classics From first-time director Chinlin Hseih comes FLOWERS OF TAIPEI – TAIWAN NEW CINEMA, a documentary that, with the help of some fantastic contributors like Olivier Assayas and Palme D’or winner Apichatpong Weerasethakul pays homage to some of the innovative, creative Taiwanese directors like Hou Hsiao-Hsien [...] The post Chinlin Hseih, Flowers of Taipei, #Venezia71 appeared first on Fred Film Radio.

Chinlin Hseih, Director, Flowers of Taipei. Festival Section: Venice Classics From first-time director Chinlin Hseih comes FLOWERS OF TAIPEI – TAIWAN NEW CINEMA, a documentary that, with the help of some fantastic contributors like Olivier Assayas and Palme D’or winner Apichatpong Weerasethakul pays homage to some of the innovative, creative Taiwanese directors like Hou Hsiao-Hsien [...] The post Chinlin Hseih, Flowers of Taipei, #Venezia71 appeared first on Fred Film Radio.

Chinlin Hseih, Director, Flowers of Taipei. Festival Section: Venice Classics From first-time director Chinlin Hseih comes FLOWERS OF TAIPEI – TAIWAN NEW CINEMA, a documentary that, with the help of some fantastic contributors like Olivier Assayas and Palme D’or winner Apichatpong Weerasethakul pays homage to some of the innovative, creative Taiwanese directors like Hou Hsiao-Hsien [...] The post Chinlin Hseih, Flowers of Taipei, #Venezia71 appeared first on Fred Film Radio.

Between experimental cinema and the mainstream, between academic writing and teaching and mainstream criticism, New School professor and writer Genevieve Yue enjoys crossing the boundaries between the normally concrete lines of contemporary cinema and cinephilia. So in the latest episode, she sits down with Peter to talk about coming to experimental cinema through poetry, finding ways to teach and think about the avant-garde, and the transitional moment of Asian cinema. Plus, the two dive into Hou Hsiao-Hsien's Café Lumière, a film that allows for a cinema set in the spaces "in between" and one filled with layers of the past, whether cinematically or through the film's own narrative secrets. 0:00-1:34 Opening2:24-7:32 Establishing Shots - George Cukor and Sylvia Scarlett / Sponsor8:17-59:15 Deep Focus - Genevieve Yue1:00:24-1:19:48 Double Exposure - Café Lumière (Hou Hsiao-Hsien)1:19:52-1:21:31 Close

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

Depuis l’époque coloniale japonaise à nos jours en passant par la période de la dictature des Nationalistes chinois, Taipei est l’objet de représentations contradictoires qui révèlent son identité fragmentée. Cette présentation revient plus particulièrement sur l’image de Taipei à l’écran avant Tsai Ming-Liang, Hou Hsiao Hsien et Edward Yang. Wafa Ghermani

Breathless (A Bout De Souffle) is being re-released in UK cinemas to celebrate the 50th anniversary of its original release. One of the key films of the French New Wave, it is the story of Michel Poiccard (Jean-Paul Belmondo), a small-time criminal on the run, and Patricia Franchini (Jean Seberg), an American who sells the International Herald Tribune along the boulevards of Paris. With its loose narrative, location shooting, improvised dialogue, jump cuts, deliberately mismatched shots and literary references, it remains a landmark film. It gave French and European cinema a much needed shot of inspiration when it first came out in 1960 with audiences and critics responding to its energy and artistic verve. Pierre Rissient was the assistant director on Breathless and for the past fifty years has been a key figure in the film world: a critic, publicist and consultant to film festivals, he has helped champion directors as diverse as Joseph Losey, Jules Dassin, Anthony Mann, Hou Hsiao Hsien, Zhang Yimou, Clint Eastwood, Quentin Tarantino, Werner Herzog, Jane Campion and Abbas Kiarostami. I recently spoke to Pierre about the re-release of Breathless and got his thoughts on the film fifty years after its original release.File Download (0:00 min / 15 MB)

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.