Podcasts about tsai ming

Oggi parliamo di Tsai Ming-liang e della pubblicazione del 2024 'Solitudini urbane. Viaggio sentimentale e spettrale nel cinema di Tsai Ming-liang" con il suo curatore Valentino Saccà e due degli autori, Barbara Rossi e Francesco Saverio Marzaduri.Libro: https://www.amazon.it/Solitudini-urbane-sentimentale-spettrale-Ming-liang/dp/8875884110Il nostro canale Telegram per rimanere sempre aggiornati e comunicare direttamente con noi: https://t.me/SalottoMonogatariSpotify: https://open.spotify.com/show/2QtzE9ur6O1qE3XbuqOix0?si=mAN-0CahRl27M5QyxLg4cwApple Podcasts: https://podcasts.apple.com/it/podcast/salotto-monogatari/id1503331981Google Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xNmM1ZjZiNC9wb2RjYXN0L3Jzcw==Logo creato da:Massimo ValentiSigla e post-produzione a cura di:Alessandro Valenti / Simone MalaspinaPer il jingle della sigla si ringraziano:Alessandro Corti e Gianluca NardoPer la gestione dei canali social si ringrazia:Selene Grifò

This week we're excited to present a conversation from this year's edition of New Directors/New Films with Blue Sun Palace director Constance Tsang and cast members Ke-Xi Wu and Murielle Hsieh. This conversation was moderated by New Directors/New Films co-chair Dan Sullivan. Blue Sun Palace is now in select theaters, courtesy of Dekanalog. For more than 30 years the Taiwanese actor Lee Kang-sheng has forged an indelible, inimitable creative partnership with Tsai Ming-liang. Lee makes as big an impression in Constance Tsang's Blue Sun Palace, which relocates him to working-class Queens. When wayward Taiwanese immigrant Cheung (Lee) finds his life of part-time work and light extramarital affairs shattered by violence, he connects with workers at a small Queens salon, victims themselves to the indignities forced upon strangers in a strange land. But Blue Sun Palace is no misery showcase. Intimacy and warmth co-exist with economic anxieties and deep grief that are articulated with uncommon intelligence and understanding of how adults endure any given day. In this debut feature, awarded the French Touch Prize by the jury at the 2024 Cannes Critics' Week, Tsang shapes an immigrant's tale, a relationship drama, a workplace comedy, and a great New York story in one.

Ben recently attended the 35th Singapore International Film Festival and watched a whole lot of films, and made a few new friends along the way. Listen in on his thoughts about the films, the festival programme's overarching themes, and how beauty is a trap!! This episode is generally spoiler-free, spoilers are marked with timestamps below! Links DONATE to Singapore Red Cross Fundraising Campaign For Humanitarian Crisis in Gaza / Lebanon (campaign ends 31 Dec 2024) I is another by Sasha Han  A Close Watch of Small Hours of the Night by Aditi Shivaramakrishnan Ray Yeung Interview Neo Sora Interview Emerson Goo's review of By The Stream  Ben's SGIFF Recap Part 1 (part 2 incoming) Timestamps (00:05:14) Small Hours of the Night Directed by Daniel Hui (which Ben did NOT see) (00:15:40) No Other Land Directed by Basel Adra & Hamdan Ballal & Yuval Abraham & Rachel Szor (00:21:14) Stars in Broad Daylight directed by Ossama Mohammed (00:25:45) An Unfinished Film directed by Lou Ye (00:30:32) Jafar Panahi Conversation  (00:34:36) Crimson Gold Directed by Jafar Panahi (00:35:37) The Circle Directed by Jafar Panahi (00:36:46 - 00:38:10) The Circle Spoiler (00:39:13) Viet and Nam Directed by Truong Minh Quy; + small discussion on co-productions (00:47:52) All Shall Be Well Directed by Ray Yeung (00:50:20 - 00:50:55) All Shall Be Well Spoiler (00:53:40) Happyend Directed by Neo Sora (00:58:25) By The Stream Directed by Hong Sang-soo;+ Wilson's love of Hong (01:05:08) Vive l'amour Directed by Tsai Ming-liang (01:09:27) Stranger Eyes Directed by Yeo Siew Hua (01:13:54) Time to Be Strong Directed by Namkoong Sun (01:17:32) Ben's Festival Highlights  (01:18:48) Don't Cry Butterfly Directed by Linh Duong (01:21:19) Universal Language Directed by Matthew Rankin (01:24:28) La Cocina Directed by Alonso Ruizpalacios (01:25:20) Don't You Let Me Go Directed by Leticia Gorge & Ana Guevara (01:26:40) The Shrouds Directed by David Cronenberg; Our NYFF62 Dispatch episode where Eli watched it (01:27:40) Familiar Touch Directed by Sarah Friedland; plus a very cool fact about the film's production process (01:30:55) April Directed by Dea Kulumbegashvili (01:31:45 - 01:31:53) Brief spoiler for Kulumbegashvili's first film, Beginning (01:33:05) Closing Thoughts

Cate Blanchett and Nikki Amuka-Bird on Rumours, Guy Maddin's black comedy that follows the leaders of seven wealthy democracies who get lost in the woods while drafting a statement on a global crisis.+ Piece by Piece is directed by our guest Morgan Neville in his animated directorial debut. It follows the life and career of American musician Pharrell Williams, who stars in the film through the lens of Lego animation.As a near-complete career survey of Malaysia-born Taiwan-based  Tsai Ming-liang screens at GOMA, Jason meets the great filmmaker. Presenter, Jason Di RossoProducer, Sarah CorbettSound engineer, Isabella TropianoExecutive producer, Rhiannon Brown

Cate Blanchett and Nikki Amuka-Bird on Rumours, Guy Maddin's black comedy that follows the leaders of seven wealthy democracies who get lost in the woods while drafting a statement on a global crisis.+ Piece by Piece is directed by our guest Morgan Neville in his animated directorial debut. It follows the life and career of American musician Pharrell Williams, who stars in the film through the lens of Lego animation.As a near-complete career survey of Malaysia-born Taiwan-based  Tsai Ming-liang screens at GOMA, Jason meets the great filmmaker. Presenter, Jason Di RossoProducer, Sarah CorbettSound engineer, Isabella TropianoExecutive producer, Rhiannon Brown

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!

Send us a text4X4 III: TSAI MING-LIANG 4: DAYSTGTPTU's back to finish (cough) the job handily (cough) with a happy ending (oh boy) for our coverage of director Tsai Ming-liang, coming together (really, dude?) to get every ounce our four gents have to offer, pulling and tugging (grow up) on each's points and hot takes for this fourth and final 4x4 film of Jack's offering (was that a pun?) called, in its English release (are you serious?), DAYS (2020).  If you like washing your vegetables in your bathroom or the feel of burning paper during your non-erotic electroshock massage sessions and also like to take things slow, boy-howdy do we have a film for you. Or if you like your massage erotic, well, this possibly sad, possible love story might be up your rainy, post-apocalyptic Bangkok alley (or busy street). And for fans of the previously covered Goodbye, Dragon Inn who enjoyed its minimal subtitles due to its paucity of dialogue, get excite: There is even less talk and zero subtitles in this latest Tsai Ming-liang joint. Naturally, actor and muse Lee Kang-sheng returns. Also billed, Anong Houngheuangsy in his debut film. Lee Kang-sheng plays an older dude who goes to the city for an obscure medical treatment for his back. Anong Houngheuangsy plays a younger guy on his grind (and occasionally Grinder?). About an hour into the film, these two hook up, a gift is exchanged, and the two have a quiet, postcoital meal outside a restaurant. Then they return their separate, silent ways after about forty-five minutes of shared screentime. And with just minutes to spare in this movie just over two hours long, we watch Anong Houngheuangsy's character at a bus stop as he sits and waits and waits and waits until, wait for it, what appears in BMI and skin tones to be a herd of Americans passes by.  Listen along as the foursome wraps up (and Thomas declines to rank) Tsai Ming-liang's four covered movies. EPISODE SPOILER: Ken reveals for perhaps the first time to English-speaking audiences the sitcom origins of Tsai Ming-liang's films. Next ep, we begin the first pairing of the four William Wyler films chosen by Ryan: Detective Story (1951) and The Desperate Hours (1955). THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

Nejlepším tuzemským dokumentem je Dům bez východu Tomáše Hlaváčka, cenu za nejvýraznější světový dokument si odnesla Prezidentka režiséra Marka Šulíka. Ocenění za nejlepší debut získal snímek Šedá zóna Daniely Meressy Rusnokové. Cenu publika dokument Dajori Martina Páva a Nicolase Kourka. Za přínos světové kinematografii byl oceněn přední představitel tchajwanské nové vlny Tsai Ming-liang.Všechny díly podcastu Mozaika můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Nejlepším tuzemským dokumentem je Dům bez východu Tomáše Hlaváčka, cenu za nejvýraznější světový dokument si odnesla Prezidentka režiséra Marka Šulíka. Ocenění za nejlepší debut získal snímek Šedá zóna Daniely Meressy Rusnokové. Cenu publika dokument Dajori Martina Páva a Nicolase Kourka. Za přínos světové kinematografii byl oceněn přední představitel tchajwanské nové vlny Tsai Ming-liang.

In this episode, we discuss Tsai Ming-liang's The River, including how Tsai visualizes complex ideas, the reason for Hsiao-Kang's neck pain, and what water represents. See where The River is available to watch.Supplemental Material:• The River | City Cinematheque• City Without Tears by Jonathan Rosenbaum• Video Essay: "Days Passed" | Lee Kang-Sheng Through the Eyes of Tsai Ming-Liang• Award-Winning Director Tsai Ming-Liang Reveals The Origins of His Cinematic Dream• Filmmaker Tsai Ming-Liang on Screenwriting• NYFF58 Talk: Tsai Ming-liang• Alternative Narratives: Art as Articulated by Tsai Ming-liang I Berlinale Talents 2024Additional Audio Sources:• The River (Internet Archive Transfer)If you'd like to support the show, subscribe to the podcast on Apple Podcasts, Spotify, or wherever you listen to your podcasts, leave a review on Apple Podcasts, and share the podcast with someone who might enjoy it.If you have any thoughts, comments, or questions about the show, you can email us at scenebyscenepodcast@gmail.comFollow us on Letterboxd: Joe | Justin

Send us a textThis week's Season 13 4x4 entry is GOODBYE, DRAGON INN (2003), the third of four films curated by guest host Jack to represent the filmography of director Tsai Ming-liang. The original TPTGTU boys are reunited this ep with the return of host Thomas but divided in their appreciation for what is billed as Tsai Ming-liang's comedy-drama. As promised in last episode, this third film by the Taiwanese slow cinema director takes on a lighter tone than his previously discussed movies, a tone that at times even borders on, or some might and do argue achieves, comedy. It's a movie that allows the viewer to watch others watch a movie, to question the dimensions and positioning of moviegoers in this old Taiwanese movie theater showing its final film before closing, or to observe with mirth a Japanese tourist subtly cruise other males by switching seats and wandering the theater's halls and bathrooms, or to observe a woman with a limp bring her coworker a bun to eat after cleaning out urinals and stalls. For those who do not speak Mandarin and are uninterested in reading subtitles, good news! There are only about a dozen lines of dialogue, mostly at the end between one of the elderly actors who starred in the titular 1967 martial arts movie Dragon Inn and some other movie patron lingering in the theater lobby after the movie's final showing. Actor Lee Kang-sheng, a.k.a. Tsai Ming-liang's heterosexual muse, returns as the movie's film projectionist in a role with no lines but in one climatic (sarcasm) scene determines with the help of fortune teller machine whether he is a Cold Fish or a Casanova (for you Simpson's fans). Is this film a comedic experience playing off cinematic expectations garnered from Western films? An endurance test? An homage to earlier cinema? A reminder to all filmmakers to not show a better film in their film? Or some awkward chimera of the above? Listen as the hosts take up positions awkwardly close to each other for long periods of time with their wee-wees out. Unfortunately, the pod's best film critic ceded their seat at the table to Thomas back from his Western European tour. You are missed, Annabel. WARNING I: Do not approach this film expecting laugh tracks or comedic buttons. WARNING II: Do not operate heavy equipment while watching Tsai Ming-liang films. WARNING III: Do not allow the dissenting voice to write an episode's show notes. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

Writer, curator, and author of the upcoming book Revolutionary Desires: The Political Power of the Sex Scene, Xuanlin Tham joins us to discuss the work of Taiwanese New Wave director Tsai Ming-liang and his 1994 film Vive L'Amour. It's a quietly devastating exploration of longing, desire, and urban alienation about a trio of young Tapei residents who, unbeknownst to one another, all occupy the same luxury model apartment.We discuss the context of early 90s Tapei, its status as a bustling center of rapid economic growth and a hub for global commerce, and how this unique urban setting coupled with Tsai's outsider status as a Malaysian-born transplant inform his cinema. Then we explore the distinctive formal components of Tsai's filmmaking, its radical underpinnings, and its rejection of commodifying language or labels. Finally, we look to Tsai's evolution across the decades since Vive L'Amour and how his self-referential and increasingly sparse approach has further liberated his cinema from the strictures of capitalist impulses. Follow Xuanlin Tham on TwitterPre-Order Revolutionary Desires: The Political Power of the Sex Scene from 404 InkGet access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Send us a text4X4 2: TSAI MING-LIANG and "STRAY DOGS"Our four film investigation into slow cinema master Tsai Miang-liang tackles his 2013 masterpiece STRAY DOGS. If you can vibe to a five minute opening static shot of a woman brushing her hair while her children sleep beside her in a charred husk of as bedroom where even the sheets on the bed look like ruin before cutting to a nearly ten minute long shot of a depressed homeless man in the lashing rain of Tai Pei holding a sign at a busy intersection, we have the movie for you! It also includes: cabbage desecration, alcoholism, abandonment of buildings and humans, and a house built inside of a nightmare's nightmare (this is NOT a comedy).Joined by guest Annabel once again, Ken, Jack and Ryan get into a fairly dense and deep convo about Stray Dogs. Co-host Thomas is once again absent due to his covert foreign work as a CIA super spy (who we just outed?) and he is missed. Slow Cinema is an important part of international film and we are delighted to discuss one of the contemporary greats this month. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

Send us a text4X4 III: TSAI MING-LIANG: REBELS OF THE NEON GODIt's the beginning of our four film dive into Queer Asian New Wave master Tsai Ming-liang. Released in 1992 and made shortly after Taiwan's "quiet revolution" from a dictatorship to democracy, Rebels of the Neon God stars the director's muse, Lee Kang-sheng (who would go onto being in every one of his films and the two live together in... interesting circumstances) as a Cram Student who becomes obsessed with a small time hood after a brief act of violence in the street, who drives around on a scooter in Tai Pei, smoking cigarettes, playing video games, walking around his partially flooded apartment and being on the outside of polite society. It sounds like a crime film but, trust us, it is not. Tsai Ming-liang has the eye of an artist and the patience of Rip Van Winkle in holding some of his compositions - something he will go deeper into as his career grows.  Picked by S13 guest host Jack, we get a tutorial on Taiwan, Tsai Ming-liang's career and antecedents to his slow cinema masterpiece before next week's STRAY DOGS.  WARNING: Due to the difficulty of being able to see Rebels by a few hosts, we do talk about access to foreign or obscure films in the streaming era (spoiler: we are not fans). WARNING II: Co-host Thomas is not on this episode because he was in Europe legally watching Matthew Barney films at the Louvre when we recorded. He will return in two weeks.Special guest Annabel also shows up and slow cinemas us all. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

Send us a textTHE LONGEST YARDThis week, the TGTPTU boys return to prison for more fun and games, this time stopping this 4x4 season's first round drafted director Robert Aldrich's run with inches to go. For the final film of the first four and to cap the Aldrich coverage, Ken drafted THE LONGEST YARD (1974). Following Ryan's fumbling the intro and benched as provisional cohost, this season's four host run the tape back to explore Aldich's plays in prototyping the sports underdog movie and somehow manage to avoid speaking too ill of the Sandler 2005 remake.   The first of the four initial films of Season 13 not to be based on a novel, The Longest Yard was a smashing success and a standout in an era of cinema that defined both the sports underdog and spirited prisoner genres. As Ken and Thomas cover this ep, Aldrich needed the win after the failure of Aldrich Studios (introed last episode).  For your amusement this episode, Ken spits fresh lyrics during his Burt Reynolds Rap (hopefully not censored by the parole board) before providing summations on Aldrich's career and films accompanied by odd ambient squeaks this week provided by Thomas's dog.  Note that next week will not be the start of four films by Lars von Trier but will instead be Rebels of the Neon God (1992), Tsai Ming-liang's feature film directorial debut. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralRyan: Ryan Tobias

Dorian Z. Bell (f.k.a. Dank Deleuze) joins me on 8pl8s to discuss Buddhist, zen, and ascetic currents in filmmaking. Slow cinema is a genre of art cinema characterised by a style that is minimalist, observational, and with little or no narrative, and which typically emphasizes long takes. It is sometimes called "Darius Csiky's favorite typa cinema". REAL. SHARE THE SHOW WITH ALL YOUR ZEN FRIENDS & RATE 5 STARS ~ 8pl8s IG: https://www.instagram.com/8pl8s/ Follow Danko on IG and stay tuned for his book coming soon. Timeline for the movies discussed: 13:25 - Film (1965) dir. Alan Schneider 17:53 - Fata Morgana (1971) dir. Werner Herzog 21:33 - News from Home (1976) dir. Chantal Akerman 26:36 - *Woyzeck (1979) dir. Werner Herzog 28:38 - *Baal (1970) dir. Volker Schlöndorff 42:23 - *Flowers of Taipei: Taiwan New Cinema (2014) dir. Hsieh Chin-Lin 44:37 - *Salò, or the 120 Days of Sodom (1975) dir. Pier Paolo Pasolini 56:25 - *Deep Rising (1998) dir. Stephen Sommers 58:07 - The Turin Horse (2011) dir. Tarr Béla 1:03:27 - *Drive My Car dir. Ryūsuke Hamaguchi 1:19:31 - Days (2020) dir. Tsai Ming-liang 1:22:56 - About Dry Grasses (2023) dir. Nuri Bilge Ceylan * NOT SLOW CINEMA, THESE FILMS SIMPLY CAME UP

Amy & Jerry chat the deep & tender work of a truly one-of-a-kind provocateur.

We've never reviewed a Tsai Ming-liang film so today we're discussing, Goodbye, Dragon Inn. Thank You ALL for Helping Support Us! Visit Our Website

In this episode of Girls On Film, Anna Smith talks about the recent Cinema for Gaza auction with two of the women behind the initiative, Helen Simmons and Julia Jackman, and she reviews some imminent releases with film critic Rhianna Dhillon and film journalist and programmer Cici Peng. First up Anna speaks with Rhianna Dhillon about Italian box-office hit C'è ancora domani or There's Still Tomorrow. They discuss the representation of domestic violence in this neorealist-style debut from Paola Cortellesi, and pick up on the film's surprisingly hopeful feel. Next up they discuss The Fall Guy, starring Ryan Gosling as a stunt-double and Emily Blunt as a blockbuster director, which is out in UK cinemas on 2 May 2024. A recent auction raised over £260,000 for Medical Aid for Palestinians or MAP, a charity currently working in Gaza to provide immediate medical aid to those in great need. The auction was an initiative led by film critics Hanna Flint, Leila Latif, and Sophie Monks Kaufman who teamed up with publicist Hannah Farr, and filmmakers Julia Jackman and Helen Simmons. Anna talks with Helen and Julia about the initiative, who also share some insights into the highest-earning lots, which included Annie Lennox's handwritten lyrics to 1983 hit Sweet Dreams (Are Made Of This). Finally, Anna is joined by film journalist and programmer Cici Peng, who shares her thoughts on Rose Glass' Love Lies Bleeding, and Léa Seydoux's performance in the upcoming film The Beast. Cici also speaks about her recent archival work to create a programme of hidden gems at Queer East Festival, which showcases queer cinema from East and Southeast Asia and its diaspora. Films mentioned in this episode: There's Still Tomorrow / C'è ancora domani (Paola Cortellesi, 2024) The Fall Guy (David Leitch, 2024) Jungle Cruise (Jaume Collet-Serral, 2021) The Devil Wears Prada (David Frankel, 2006) Ordinary Angels (Jon Gunn, 2024) Hoard (Luna Carmoon, 2024) Abigail (Matt Bettinelli-Olpin, 2024) Bonus Track (Julia Jackman, 2024) Love Lies Bleeding (Rose Glass, 2024) The Beast / La bête (Bertrand Bonello, 2024) The River / He liu (Tsai Ming-liang, 1997) Bye Bye Love / Baibai rabu (Isao Fujisawa, 1974) You can buy Cinema for Gaza merchandise until 7 May 2024 via the links below: https://www.weareprintsocial.com/campaigns/cinema-for-gaza-2 https://www.weareprintsocial.com/campaigns/cinema-for-gaza Sign up to the Girls On Film newsletter below: http://eepurl.com/iEKaM-/ or email girlsonfilmsocial@gmail.com to be signed up Become a patron of Girls On Film on Patreon here: www.patreon.com/girlsonfilmpodcast Follow us on socials: www.instagram.com/girlsonfilm_podcast/ www.facebook.com/girlsonfilmpodcast www.twitter.com/GirlsOnFilm_Pod www.twitter.com/annasmithjourno Watch Girls On Film on the BFI's YouTube channel: www.youtube.com/playlist?list=PLX…L89QKZsN5Tgr3vn7z Girls On Film is an HLA production. Host: Anna Smith Executive Producer: Hedda Lornie Archbold Producer: Charlotte Matheson Audio editor: Elliana Jay Hamer House band: MX Tyrants © HLA Agency

Ein neues Jahr, eine neue Berlinale! Lucas, Janick & Jenny schauen in dieser Folge zurück auf die diesjährige Ausgabe. Und auch wenn Begeisterung vielleicht anders aussieht, gab es durchaus einige Highlights. Es geht um: - "Small Things Like These" von Tim Mielants - "The Empire" von Bruno Dumont - "Hors du temps" von Olivier Assayas - "A Different Man" von Aaron Schimberg - "A Traveler's Needs" von Hong Sang-soo - "Abiding Nowhere" von Tsai Ming-liang - "The Boxman" von Gakuryū Ishii - "Des Teufels Bad" von Severin Fiala & Veronika Franz - "Cuckoo" von Tilman Singer - "Love Lies Bleeding" von Rose Glass - "All the Long Nights" von Sho Miyake - "Reas" von Lola Arias - "Verbrannte Erde" von Thomas Arslan - "Favoriten" von Ruth Beckermann - "Odd Turn" von Francisco Lezama - "I Saw the TV Glow" von Jane Joenbrun - "Chime" von Kiyoshi Kurosawa - "Der Unsichtbare Zoo" von Romuald Karmakar - "Dahomey" von Mati Diop - "The Visitor" von Bruce LaBruce

On episode 79 we conclude our series on the great Tsai Ming-liang with two of his slowest, but also most interesting feature films, 2013's Stray Dogs (2:23), and 2020's Days (1:10:37). We hope you enjoy! Episode Next Week: Rapid Fire Questions, Etc Music: - Intro from Stray Dogs - Break from Days - Outro from Days Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

On Episode 78 we continue our Tsai series with two of Tsai's more experimental films, 2005's The Wayward Cloud (3:52), and 2009's Visage (1:06:17). We hope you enjoy! Episode Next Week: Stray Dogs + Days Music: - Intro from The Wayward Cloud (https://www.youtube.com/watch?v=Ak27LeQJ64I&ab_channel=CS) - Break from The Wayward Cloud (https://www.youtube.com/watch?v=Ak27LeQJ64I&ab_channel=CS) - Outro from Visage (https://www.youtube.com/watch?v=S_x8FAYN_4g&ab_channel=Chineetfilms) Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

On Episode 77, we continue Blake's pick, Tsai Ming-liang! This week we're reviewing two Tsai films that pair extremely well together, 2001's What Time Is It There? (0:01:05), and 2003's Goodbye, Dragon Inn (1:29:22). We hope you enjoy! Episode Next Week: The Wayward Cloud + Visage Music: - Intro: https://www.youtube.com/watch?v=gFeyqjRhY_Q&ab_channel=filmnerd - Break: Dragon Inn clip - Outro: https://www.youtube.com/watch?v=B9kVebphJFM&ab_channel=YaoLee-Topic Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

On Episode 76, we continue Blake's pick, Tsai Ming-liang! This week we're reviewing two different Tsai fillms, 1997's The River (1:36), and 1998's The Hole (1:10:26). We hope you enjoy! Episode Next Week: What Time Is IT There? + Goodbye, Dragon Inn Music: - Intro: https://www.youtube.com/watch?v=41vF3wYN9S4&ab_channel=Mandarin%26Bananas - Break: https://www.youtube.com/watch?v=ZIfpCLrjXVU&ab_channel=rabarbraland - Outro: https://www.youtube.com/watch?v=FlwoWGRK9qE&ab_channel=WSHoran Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

On Episode 75, after our biggest break between series yet, we finally start our next one with Blake's pick, Tsai Ming-liang! Tsai is a one of Blake's all-time favorite directors, and after a brief intro on our overall thoughts on Tsai, we're starting with his first two features for week 1 of this series, 1992's Rebels of the Neon God (15:47), and 1994's Vive L'Amour (1:26:51). We hope you enjoy! Episode Next Week: The River + The Hole Music: - Intro/Break/Outro from Rebels of the Neon God (https://www.youtube.com/watch?v=8urigjsCdNw&ab_channel=Misjah) Hosts: Luke Seay (https://letterboxd.com/seayluke/), Blake Tourville (https://letterboxd.com/blaketourville/), and Dany Joshuva (https://letterboxd.com/djoshuva/) Podcast Links (Spotify and Apple): https://linktr.ee/floatingthroughfilm Letterboxd: https://letterboxd.com/floatingfilm/ Email: floatingthroughfilm@gmail.com

On this episode of Cannesversations Patrick and Eliana discuss Tsai Ming-Liang's 2009 in-competition Cannes film, Visage (臉 | Face). Commissioned by the Louvre Museum and sprinkled with the ghosts of Nouvelle Vague and Truffaut's own muses, the Taiwanese director's own muse, Lee Kang Sheng, wades through halls of grief and desire while directing a film based on the incandescent and timeless biblical Salomé.Through long durational takes, absurd situations, and a composed acumen of transience, Tsai's cinema captivates with just one face, leaving behind a body of work that lends itself in equal parts to theatrical and institutional dissemination.Resources/Credits:Bordeleau, Erik. "The Care for Opacity – On Tsai Ming-Liang's Conservative Filmic Gesture." NECSUS. European Journal of Media Studies, 1 (2012), No. 2, p. 115–131. DOI: www.doi.org/10.25969/mediarep/15052.Bordeleau, Erik. "Soulful Sedentarity: Tsai Ming-Liang at Home at theMuseum." Studies in European Cinema, 10:2-3, 179-194, DOI: 10.1386/seci.10.2-3.179_1.Hughes, Darren. "Tsai Ming-liang." Senses of Cinema, May 2003, https://www.sensesofcinema.com/2003/great-directors/tsai/.Lim, Song Hwee. Tsai Ming-liang and a Cinema of Slowness. University of Hawai'i Press, 2014.Tsai, B. 2017. The many faces of Tsai Ming-liang: Cinephilia, the French connection, and cinema in the gallery. International Journal of Asia Pacific Studies 13 (2): 141–160, https://doi.org/10.21315/ijaps2017.13.2.7Villiers, Nicholas de. Cruisy, Sleepy, Melancholy. Sexual Disorientation in the Films of Tsai Ming-liang. University of Minnesota Press, 2022.Visage - Press Kit Cannes.Sound:EFF Open Audio License for Le Carnaval des Animaux (Saint-Saëns, Camille - Aquarium) by Neal O'Doan (Piano) Nancy O'Doan (Piano), and Seattle Youth Orchestra Pandora Records/Al Goldstein ArchiveIntro Interview

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

Two years ago Bill Ackerman and Patrick Ripoll joined forces to do a deep dive into the filmography of Wong Kar-wai, an Asian filmmaker who found great acclaim with his quirky tales of loneliness and longing set among a world of urban alienation in contemporary Hong Kong. Now they return to do a deep dive into the filmography of Tsai Ming-Liang, an Asian filmmaker who found great acclaim with his quirky tales of loneliness and longing set among the world of urban alienation in contemporary Taipei.    Time is a wheel we all can't help but ride.   But any close examination will reveal Tsai Ming-Liang to be a peerless artist with a fascinating body of work totally unlike that of anyone in film history, a queer slow-cinema maverick whose fierce independence, devotion to his lead actor Lee Kang-Sheng, and intricately connected filmography rewards you more and more the closer you look. From his humble days in Taiwanese television to directing the first film ever commissioned by The Louvre, Patrick and Bill are here to guide you through the winding paths and enigmatic hidden treasures of one of Taiwan's greatest filmmakers, by charting a course through four of his most foundational works: REBELS OF THE NEON GOD (1992), WHAT TIME IS IT THERE? (2001), GOODBYE, DRAGON INN (2003) and STRAY DOGS (2013).   0:00 - 11:53 - Introduction 11:54 - 13:29 - Filmography through Rebels of the Neon God 13:30 - 58:38 - Rebels of the Neon God 58:39 - 1:01:15 - Filmography between Rebels of the Neon God and What Time Is It There? 1:01:16 - 1:38:34 - What Time Is It There? 1:38:35 - 2:13:06 - Goodbye, Dragon Inn 2:13:07 - 2:31:31 - Filmography between Goodbye, Dragon Inn and Stray Dogs 2:31:32 - 2:40:30 - The Walker series 2:40:31 - 3:03:50 - Stray Dogs 3:03:51 - 3:19:37 - Days & Outro

Invité : Frédéric Rosset Au programme de cette année 2007 : SuperGrave : la réponse sensible à American Pie ? La génération Judd Apatow Rétribution de Kiyoshi Kurosawa Apichatpong Weerasethakul, Tsai Ming-liang et Kiyoshi Kurosawa : souvenirs, mémoire et fantômes asiatiques. No Country for Old Men, Zodiac, La Nuit nous appartient... ou le polar désabusé américain. Paranoid Park et le cinéma de Gus Van Sant. Recommandations : Inland Empire (David Lynch), I'm Not There (Todd Haynes), Steak (Quentin Dupieux) et Naissance des pieuvres (Céline Sciamma).

In this episode, we discuss Tsai Ming-liang's Rebels of the Neon God, including its similarities to Edward Yang's The Terrorizers, Hsiao-Kang's multi-layered motivations, and Tsai's skill at introducing/establishing characters.See where Rebels of the Neon God is available to watch.Supplemental Material:Big World Pictures' Rebels of the Neon God (Blu-ray)Tsai Ming-liang & Lee Kang-sheng Interview with Asia Society Pt. 1Tsai Ming-liang & Lee Kang-sheng Interview with Asia Society Pt. 2Tsai Ming-liang & Lee Kang-sheng Interview with Asia Society Pt. 3Tsai Ming-liang & Lee Kang-sheng Interview with Asia Society Pt. 4Tsai Ming-liang Interview with ANUTsai Ming-liang Interview with UCLA Center for Chinese StudiesRebels of the Neon God Review by Matt Zoller SeitzAdditional Audio Sources:Big World Pictures' Rebels of the Neon God (Blu-ray)Rebels of the Neon God - Official US TrailerIf you'd like to support the show, subscribe to the podcast on Apple Podcasts, Spotify, or wherever you listen to your podcasts, leave a review on Apple Podcasts, and share the podcast with someone who might enjoy it.If you have any thoughts, comments, or questions about the show, you can email us at scenebyscenepodcast@gmail.comFollow us on Letterboxd: Joe | Justin

A critical figure in queer Sinophone cinema—and the first director ever commissioned to create a film for the permanent collection of the Louvre—Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-Liang (U Minnesota Press, 2022) offers a fascinating, systematic method for analyzing the queerness of Tsai's films. Nicholas de Villiers argues that Tsai expands and revises the notion of queerness by engaging with the sexuality of characters who are migrants, tourists, diasporic, or otherwise displaced. Through their lack of fixed identities, these characters offer a clear challenge to the binary division between heterosexuality and homosexuality, as well as the Orientalist binary division of Asia versus the West. Ultimately, de Villiers explores how Tsai's films help us understand queerness in terms of spatial, temporal, and sexual disorientation. Conceiving of Tsai's cinema as an intertextual network, Cruisy, Sleepy, Melancholy makes an important addition to scholarly work on Tsai in English. It draws on extensive interviews with the director, while also offering a complete reappraisal of Tsai's body of work. Contributing to queer film theory and the aesthetics of displacement, Cruisy, Sleepy, Melancholy reveals striking connections between sexuality, space, and cinema. Nicholas de Villiers is professor of English and film at the University of North Florida. He is author of Opacity and the Closet: Queer Tactics in Foucault, Barthes, and Warhol and Sexography: Sex Work in Documentary. Li-Ping Chen is Postdoctoral Scholar and Teaching Fellow in the East Asian Studies Center 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

A critical figure in queer Sinophone cinema—and the first director ever commissioned to create a film for the permanent collection of the Louvre—Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-Liang (U Minnesota Press, 2022) offers a fascinating, systematic method for analyzing the queerness of Tsai's films. Nicholas de Villiers argues that Tsai expands and revises the notion of queerness by engaging with the sexuality of characters who are migrants, tourists, diasporic, or otherwise displaced. Through their lack of fixed identities, these characters offer a clear challenge to the binary division between heterosexuality and homosexuality, as well as the Orientalist binary division of Asia versus the West. Ultimately, de Villiers explores how Tsai's films help us understand queerness in terms of spatial, temporal, and sexual disorientation. Conceiving of Tsai's cinema as an intertextual network, Cruisy, Sleepy, Melancholy makes an important addition to scholarly work on Tsai in English. It draws on extensive interviews with the director, while also offering a complete reappraisal of Tsai's body of work. Contributing to queer film theory and the aesthetics of displacement, Cruisy, Sleepy, Melancholy reveals striking connections between sexuality, space, and cinema. Nicholas de Villiers is professor of English and film at the University of North Florida. He is author of Opacity and the Closet: Queer Tactics in Foucault, Barthes, and Warhol and Sexography: Sex Work in Documentary. Li-Ping Chen is Postdoctoral Scholar and Teaching Fellow in the East Asian Studies Center 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

A critical figure in queer Sinophone cinema—and the first director ever commissioned to create a film for the permanent collection of the Louvre—Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-Liang (U Minnesota Press, 2022) offers a fascinating, systematic method for analyzing the queerness of Tsai's films. Nicholas de Villiers argues that Tsai expands and revises the notion of queerness by engaging with the sexuality of characters who are migrants, tourists, diasporic, or otherwise displaced. Through their lack of fixed identities, these characters offer a clear challenge to the binary division between heterosexuality and homosexuality, as well as the Orientalist binary division of Asia versus the West. Ultimately, de Villiers explores how Tsai's films help us understand queerness in terms of spatial, temporal, and sexual disorientation. Conceiving of Tsai's cinema as an intertextual network, Cruisy, Sleepy, Melancholy makes an important addition to scholarly work on Tsai in English. It draws on extensive interviews with the director, while also offering a complete reappraisal of Tsai's body of work. Contributing to queer film theory and the aesthetics of displacement, Cruisy, Sleepy, Melancholy reveals striking connections between sexuality, space, and cinema. Nicholas de Villiers is professor of English and film at the University of North Florida. He is author of Opacity and the Closet: Queer Tactics in Foucault, Barthes, and Warhol and Sexography: Sex Work in Documentary. Li-Ping Chen is Postdoctoral Scholar and Teaching Fellow in the East Asian Studies Center 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/gender-studies

A critical figure in queer Sinophone cinema—and the first director ever commissioned to create a film for the permanent collection of the Louvre—Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-Liang (U Minnesota Press, 2022) offers a fascinating, systematic method for analyzing the queerness of Tsai's films. Nicholas de Villiers argues that Tsai expands and revises the notion of queerness by engaging with the sexuality of characters who are migrants, tourists, diasporic, or otherwise displaced. Through their lack of fixed identities, these characters offer a clear challenge to the binary division between heterosexuality and homosexuality, as well as the Orientalist binary division of Asia versus the West. Ultimately, de Villiers explores how Tsai's films help us understand queerness in terms of spatial, temporal, and sexual disorientation. Conceiving of Tsai's cinema as an intertextual network, Cruisy, Sleepy, Melancholy makes an important addition to scholarly work on Tsai in English. It draws on extensive interviews with the director, while also offering a complete reappraisal of Tsai's body of work. Contributing to queer film theory and the aesthetics of displacement, Cruisy, Sleepy, Melancholy reveals striking connections between sexuality, space, and cinema. Nicholas de Villiers is professor of English and film at the University of North Florida. He is author of Opacity and the Closet: Queer Tactics in Foucault, Barthes, and Warhol and Sexography: Sex Work in Documentary. Li-Ping Chen is Postdoctoral Scholar and Teaching Fellow in the East Asian Studies Center 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

A critical figure in queer Sinophone cinema—and the first director ever commissioned to create a film for the permanent collection of the Louvre—Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-Liang (U Minnesota Press, 2022) offers a fascinating, systematic method for analyzing the queerness of Tsai's films. Nicholas de Villiers argues that Tsai expands and revises the notion of queerness by engaging with the sexuality of characters who are migrants, tourists, diasporic, or otherwise displaced. Through their lack of fixed identities, these characters offer a clear challenge to the binary division between heterosexuality and homosexuality, as well as the Orientalist binary division of Asia versus the West. Ultimately, de Villiers explores how Tsai's films help us understand queerness in terms of spatial, temporal, and sexual disorientation. Conceiving of Tsai's cinema as an intertextual network, Cruisy, Sleepy, Melancholy makes an important addition to scholarly work on Tsai in English. It draws on extensive interviews with the director, while also offering a complete reappraisal of Tsai's body of work. Contributing to queer film theory and the aesthetics of displacement, Cruisy, Sleepy, Melancholy reveals striking connections between sexuality, space, and cinema. Nicholas de Villiers is professor of English and film at the University of North Florida. He is author of Opacity and the Closet: Queer Tactics in Foucault, Barthes, and Warhol and Sexography: Sex Work in Documentary. Li-Ping Chen is Postdoctoral Scholar and Teaching Fellow in the East Asian Studies Center 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/performing-arts

A critical figure in queer Sinophone cinema—and the first director ever commissioned to create a film for the permanent collection of the Louvre—Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-Liang (U Minnesota Press, 2022) offers a fascinating, systematic method for analyzing the queerness of Tsai's films. Nicholas de Villiers argues that Tsai expands and revises the notion of queerness by engaging with the sexuality of characters who are migrants, tourists, diasporic, or otherwise displaced. Through their lack of fixed identities, these characters offer a clear challenge to the binary division between heterosexuality and homosexuality, as well as the Orientalist binary division of Asia versus the West. Ultimately, de Villiers explores how Tsai's films help us understand queerness in terms of spatial, temporal, and sexual disorientation. Conceiving of Tsai's cinema as an intertextual network, Cruisy, Sleepy, Melancholy makes an important addition to scholarly work on Tsai in English. It draws on extensive interviews with the director, while also offering a complete reappraisal of Tsai's body of work. Contributing to queer film theory and the aesthetics of displacement, Cruisy, Sleepy, Melancholy reveals striking connections between sexuality, space, and cinema. Nicholas de Villiers is professor of English and film at the University of North Florida. He is author of Opacity and the Closet: Queer Tactics in Foucault, Barthes, and Warhol and Sexography: Sex Work in Documentary. Li-Ping Chen is Postdoctoral Scholar and Teaching Fellow in the East Asian Studies Center 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/biography

A critical figure in queer Sinophone cinema—and the first director ever commissioned to create a film for the permanent collection of the Louvre—Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-Liang (U Minnesota Press, 2022) offers a fascinating, systematic method for analyzing the queerness of Tsai's films. Nicholas de Villiers argues that Tsai expands and revises the notion of queerness by engaging with the sexuality of characters who are migrants, tourists, diasporic, or otherwise displaced. Through their lack of fixed identities, these characters offer a clear challenge to the binary division between heterosexuality and homosexuality, as well as the Orientalist binary division of Asia versus the West. Ultimately, de Villiers explores how Tsai's films help us understand queerness in terms of spatial, temporal, and sexual disorientation. Conceiving of Tsai's cinema as an intertextual network, Cruisy, Sleepy, Melancholy makes an important addition to scholarly work on Tsai in English. It draws on extensive interviews with the director, while also offering a complete reappraisal of Tsai's body of work. Contributing to queer film theory and the aesthetics of displacement, Cruisy, Sleepy, Melancholy reveals striking connections between sexuality, space, and cinema. Nicholas de Villiers is professor of English and film at the University of North Florida. He is author of Opacity and the Closet: Queer Tactics in Foucault, Barthes, and Warhol and Sexography: Sex Work in Documentary. Li-Ping Chen is Postdoctoral Scholar and Teaching Fellow in the East Asian Studies Center 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

A critical figure in queer Sinophone cinema—and the first director ever commissioned to create a film for the permanent collection of the Louvre—Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-Liang (U Minnesota Press, 2022) offers a fascinating, systematic method for analyzing the queerness of Tsai's films. Nicholas de Villiers argues that Tsai expands and revises the notion of queerness by engaging with the sexuality of characters who are migrants, tourists, diasporic, or otherwise displaced. Through their lack of fixed identities, these characters offer a clear challenge to the binary division between heterosexuality and homosexuality, as well as the Orientalist binary division of Asia versus the West. Ultimately, de Villiers explores how Tsai's films help us understand queerness in terms of spatial, temporal, and sexual disorientation. Conceiving of Tsai's cinema as an intertextual network, Cruisy, Sleepy, Melancholy makes an important addition to scholarly work on Tsai in English. It draws on extensive interviews with the director, while also offering a complete reappraisal of Tsai's body of work. Contributing to queer film theory and the aesthetics of displacement, Cruisy, Sleepy, Melancholy reveals striking connections between sexuality, space, and cinema. Nicholas de Villiers is professor of English and film at the University of North Florida. He is author of Opacity and the Closet: Queer Tactics in Foucault, Barthes, and Warhol and Sexography: Sex Work in Documentary. Li-Ping Chen is Postdoctoral Scholar and Teaching Fellow in the East Asian Studies Center 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/art

A critical figure in queer Sinophone cinema—and the first director ever commissioned to create a film for the permanent collection of the Louvre—Tsai Ming-liang is a major force in Taiwan cinema and global moving image art. Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-Liang (U Minnesota Press, 2022) offers a fascinating, systematic method for analyzing the queerness of Tsai's films. Nicholas de Villiers argues that Tsai expands and revises the notion of queerness by engaging with the sexuality of characters who are migrants, tourists, diasporic, or otherwise displaced. Through their lack of fixed identities, these characters offer a clear challenge to the binary division between heterosexuality and homosexuality, as well as the Orientalist binary division of Asia versus the West. Ultimately, de Villiers explores how Tsai's films help us understand queerness in terms of spatial, temporal, and sexual disorientation. Conceiving of Tsai's cinema as an intertextual network, Cruisy, Sleepy, Melancholy makes an important addition to scholarly work on Tsai in English. It draws on extensive interviews with the director, while also offering a complete reappraisal of Tsai's body of work. Contributing to queer film theory and the aesthetics of displacement, Cruisy, Sleepy, Melancholy reveals striking connections between sexuality, space, and cinema. Nicholas de Villiers is professor of English and film at the University of North Florida. He is author of Opacity and the Closet: Queer Tactics in Foucault, Barthes, and Warhol and Sexography: Sex Work in Documentary. Li-Ping Chen is Postdoctoral Scholar and Teaching Fellow in the East Asian Studies Center 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/lgbtq-studies

durée : 00:58:41 - Plan large - par : Antoine Guillot - Marcher avec Tsai Ming-Liang, c'est ce à quoi vous invite Plan Large, avec le cinéaste, et aussi Charlotte Garson. - invités : Tsaï Ming-liang cinéaste; Charlotte Garson Rédactrice en chef adjointe des Cahiers du cinéma; Laurent Callonnec directeur et programmateur du cinéma L'Ecran de Saint-Denis

durée : 00:58:41 - Plan large - par : Antoine Guillot - Marcher avec Tsai Ming-Liang, c'est ce à quoi vous invite Plan Large, avec le cinéaste, et aussi Charlotte Garson. - invités : Tsaï Ming-liang cinéaste; Charlotte Garson Rédactrice en chef adjointe des Cahiers du cinéma; Laurent Callonnec directeur et programmateur du cinéma L'Ecran de Saint-Denis

durée : 00:43:47 - Par les temps qui courent - par : Marie Richeux - Marie Richeux s'entretient avec le cinéaste taïwanais Tsai Ming-liang à l'occasion de la sortie de son film "Days" en salles le 30 novembre. Une exposition rétrospective est à voir au Centre Pompidou du 25 novembre 2022 au 2 janvier 2023. - invités : Tsaï Ming-liang cinéaste

durée : 00:43:47 - Par les temps qui courent - par : Marie Richeux - Marie Richeux s'entretient avec le cinéaste taïwanais Tsai Ming-liang à l'occasion de la sortie de son film "Days" en salles le 30 novembre. Une exposition rétrospective est à voir au Centre Pompidou du 25 novembre 2022 au 2 janvier 2023. - invités : Tsaï Ming-liang cinéaste

For the latest episode in the Nancy/Nora series, the Lens crew welcomes Bree Maniscalco, Executive Director of Cinema St. Louis, and her pick "Julie & Julia." Just like Ephron's final film, this episode has not one but two protagonists as they welcome Shannon Weber, Digital Editor of "Feast Magazine," to discuss Julie, Julia, "Julie & Julia," and their impact on food culture. Bon appétit! First, "Hocus Pocus 2," "Do Revenge," and "Athena" are Now Showing. Lastly, Joshua takes a pilgrimage with Tsai Ming-liang and Lee Kang-shen; Kayla is still watching "Southern Charm" but might take a break for spooky season; and Andrew is back in Disney's grasp with "Star Wars: Andor." Next up is the final episode of Nancy/Nora with Kayla's pick of "The Intern," Meyers' intergenerational workplace comedy with Robert De Niro and Anne Hathaway. Please share, subscribe, and review! Follow us @stlfilmfest on Instagram/Twitter/Letterboxd and @CinemaStLouis on Facebook.

Today we are joined by returning guest Chris Mello to talk about the classic double feature pairing of King Hu's 1967 wuxia classic DRAGON INN and Tsai Ming-liang's 2003 Venice Competition film GOODBYE, DRAGON INN! We get to the bottom of how arrows work on this one! Read Chris' recent writing on King Hu here! Our twitter is @CannesIKickIt Our instagram is @CIKIPod Our letterboxd is CIKIPod Enjoying the show? Feel free to send a few bucks our way on Ko-fi. Thanks to Tree Related for our theme song Our hosts are @andytgerm @clatchley @imlaughalone @jcpglickwebber

Stephen Sackur speaks to a top diplomat from Taiwan, Taipei's Representative to the EU Tsai Ming-yen. While the West says Russia's invasion of Ukraine must fail, China holds back. Could Putin's strategy be a template for Beijing to follow in territory it still claims as its own, namely Taiwan?

Ali Cherri talks to Ben Luke about his influences, from art to literature, film and music, and the cultural experiences that have shaped his life and work. Cherri works with film, sculpture, installation, drawing, painting and other media to explore geopolitical and cultural histories, the loaded sites of museums, and the meanings and practices of archaeology. He was born in 1976 in Beirut at the beginning of the Lebanese civil war and, as we hear, growing up in Lebanon in this period inevitably marked his life and ultimately the art he would make. As well as talking about growing up in Beirut, he discusses his National Gallery exhibition, prompted by his residency at the gallery, his exploration of what he calls the “politics of visibility”, his use of taxidermied animals and his experiences at antiques auctions. Among the huge range of cultural figures he discusses are David Hockney, Ilya Kabakov, Man Ray, Donna Haraway and Tsai Ming-liang. He also responds to the questions we ask all our guests, about the objects he has in his studio, his daily rituals, and the ultimate question: “what is art for?”Ali Cherri: If you prick us, do we not bleed?, National Gallery, London, until 12 June. Ali Cherri will feature in the main exhibition of the 59th Venice Biennale, The Milk of Dreams, curated by Cecilia Alemani, 23 April-27 November. See acast.com/privacy for privacy and opt-out information.