Podcasts about taiwanese cinema

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.

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.

Join Charlie and Antonio as they experience one of cinema's greatest and most ambitious attempts to answer the human question: Edward Yang's epic family drama YI YI. Love, life, youth, death, age, regret. It's all here. Sink in. Intro/outro music: "Morning Sun" by Takuro Okada YI YI (2000), Taiwan, written and directed by Edward Yang, cinematography by Wei-han Yang, featuring Wu Nien-jen, Elaine Jin, Kelly Lee, Jonathan Chang, and Issey Ogata 

American writer-director-editor Nick Vaky and Taiwanese photographer-cinematographer Luke Liu form a filmmaking and production company/art collective. Nick and Luke's serendipitous meeting took place in Taiwan. They quickly discovered they have an abundance of chemistry between them and forged a lasting creative partnership, resulting in a prolific body of work encompassing short films, photo shoots, and diverse projects. Their collaborative endeavors extend to the YouTube channel Mint Volcano, dedicated to sharing their passion for Asian and Taiwanese Cinema through film analyses and reviews. How did Nick's journey lead him to Taiwan? What cultural hurdles did he encounter when acclimating to his new environment? What distinctive artistic styles define Nick and Luke's body of work? And what does the future hold for this talented duo? Mint Volcano's Youtube channel is here: https://www.youtube.com/@MintVolcano Nick Vaky's portfolio and details can be found at his home page https://nickvaky.com/ Luke Liu's body of work can be located at his home page https://jungfengliu.com/ Hosted by Karri Ojala and Henrik Telkki. Guests Nick Vaky and Luke Liu aka Jung-Feng Liu. Edited by Karri Ojala. The Flick Lab theme tune written and performed by Nick Grivell.

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/) 

How do false images of faraway lands affect us? What is the relationship between our choices and the world around us? What impact has modernisation had on interhuman connectivity? In another special guest(s) episode, Jimmy sits down with Benson Wu, Helen Stenbeck and Yi-Tsun Chen from the 2022 Taiwanese Film Festival to chat about the ongoing transformations in Taiwan and its film industry and what audiences can look forward to at this year's festival. The Films: 'Homebound' (2022) directed by Ismail Fahmi Lubish 'Goddamned Asura' (2021) directed by Yi-an Lou 'Yi Yi' (2000) directed by Edward Yang Follow Us: https://www.facebook.com/sacredcinema https://www.instagram.com/jimmy_bernasconi/?hl=en --- Send in a voice message: https://anchor.fm/2xxfm-sacredcinema/message

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.

Kicking ass is an underrated an artform...On this episode we sit down with programmer extraordinaire Grady Hendrix to talk about the 9th Old School Kung Fu Fest: Joseph Kuo Edition which is being presented by Museum of the Moving Image and Subway Cinema in downtown New York.Joseph Kuo is an unsung hero of 70's action cinema and we got to talk with great about not only programming these films, but getting them restored and in front audiences as well as the magic of action cinema from the pacific rim that goes widely unappreciated by North American Audiences.

Wi Ding HO and Face2Face host David Peck talk about his poetic, compelling and intimate new film Terrorizers, challenging the status quo, fragmented headlines, choice and responsibility, perspective, sympathy and loneliness and why we're all just looking to be loved.Synopsis:“A slashing incident connects a group of disillusioned youths, in director Wi Ding HO's powerful look at the truth beyond the headlines. A splendid, tragic fresco of the lost life of youths in pre-COVID Taipei, Terrorizers is his latest film. Ho returns to directing with a complex, multiple-narrative work that defies genre definitions and classic film structure. Reality can be captured through cinema, but there is a gap between what an image shows and what really is — between representation and the real world. What lies behind the headlines, what happens around tragedy, forms the prism of events at the core of Ho's story of passion, love, and vengeance — illuminated fragments of scattered lives.Terrorizers is a powerful story that investigates the origins of violence and finds poetry within aesthetics, while giving voice to a remarkable ensemble cast.”With thanks to TIFF and Giovanna FulviAbout Wi Ding Ho:A graduate of NYU Tisch School of the Arts, born and raised in Malaysia and currently based in Taipei, Wi Ding HO is truly a versatile international filmmaker. Wi Ding's audacity is not only reflected in the choice of his subjects but also in his stylistic approach. His audacious style was first noticed at Cannes's Critics Week with his short film Respire, where it won two awards and later Best Fantasy Short Film at Sitges Fantasy International Award. Back in 2005, the film depicted a distant future where people were required to wear masks by law because of the air born virus.Wi Ding's debut feature Pinoy Sunday was a comedy of manners, devoid of strong visuals, but rather focusing on performance and story. Wi Ding tackles the challenge of shooting a culture and a language both utterly foreign to him. He also continued to push the envelope as he defied the definition of Taiwanese Cinema with a film featuring 90% of non-Mandarin language and two non- Taiwanese leads. The film landed Wi Ding a much-coveted Chinese- Oscar Golden Horse Award for Best New Director.His last feature film Cities of Last Things, in the form of a triptych, pinpoints three extraordinary nights in the life of a common man, as told with reverse chronology.Each vignette examines his relationships with women, which result in life-changing events. It won the Platform Award at the Toronto International Film Festival andGrand Jury Prize in Beuane Film Festival of France, both voted unanimous by juries.Terrorizers is his latest feature film and is making its world premiere at the Toronto International Film Festival.Image Copyright and Credit: Changehe Films Ltd and Wing Di HoF2F Music and Image Copyright: David Peck and Face2Face. Used with permission.For more information about David Peck's podcasting, writing and public speaking please visit his site here.With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

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.

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

Where we chat all things Taiwan Film Festival (July 25-28) with Fest Founder Benson Wu, Opening Night Flick 'Ohong Village' with Director Lung-Yin Lim and fight about the most anticipated horror film of the year, 'Cats'

Where we chat to the Director of the inaugural Taiwan Film Festival Benson Wu, fight all things Mamma Mia: Here We Go Again with film critic Debbie Zhou, cover the James Gunn controversy and review Denzel's Equalizer 2

Chang Yung-hsiang is the screenwriter of the classic film from the golden era of Taiwan cinema, Beautiful Duckling (1964). Michael Berr, Professor of Contemporary Chinese Cultural Studies and Director of the East Asia Center at UCSB, talks with Chang Yung-hsiang who has contributed to some of the greatest classics of Chinese-language cinema. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 31016]

Chang Yung-hsiang is the screenwriter of the classic film from the golden era of Taiwan cinema, Beautiful Duckling (1964). Michael Berr, Professor of Contemporary Chinese Cultural Studies and Director of the East Asia Center at UCSB, talks with Chang Yung-hsiang who has contributed to some of the greatest classics of Chinese-language cinema. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 31016]

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.