No man an island : the cinema of Hou Hsiao-hsien

Hou Hsiao-hsien is arguably the most celebrated Chinese-language film director in the international film festival realm. However, this is not due to an inert cultural tradition so much as to numerous historical/contextual factors―most of all his being from Taiwan―which together explain the accomplishments of Hou.This is a book-length study of Hou Hsiao-Hsien, Taiwan's famous director of movies such as 'The Puppetmaster', 'City of Sadness', 'Flowers of Shanghai', and 'Goodbye South, Goodbye'. His body of work reflects a unique film style chracterized by intricate lighting, improvisational acting, and long, static shots. Taiwan is a peculiar place resulting in a peculiar cinema, with Hou Hsiao-hsien being its most remarkable product. Hous signature long and static shots almost invite critics to give auteurist readings of his films, often privileging the analysis of cinematic techniques at the expense of the context from which Hou emerges. In this pioneering study, James Udden argues instead that the Taiwanese experience is the key to understanding Hous art. The convoluted history of Taiwan in the last century has often rendered fixed social and political categories irrelevant. Changing circumstances have forced the people in Taiwan to be hyperaware of how imaginary identityabove all national identityis. Hou translates this larger state of affairs in such masterpieces as City of Sadness, The Puppetmaster, and Flowers of Shanghai, which capture and perhaps even embody the elusive, slippery contours of the collective experience of the islanders. Making extensive uses of Chinese sources from Taiwan, the author shows how important the local matters for this globally recognized director. In this new edition of No Man an Island, James Udden charts a new chapter in the evolving art of Hou Hsiao-hsien, whose latest film, The Assassin, earned him the Best Director Award at the Cannes Film Festival in 2015. Hou breaks new ground in turning the classic wuxia genre into a vehicle to express his unique insight into the working of history. The unconventional approach to conventions is quintessential Hou Hsiao-hsien. This Is A Book-length Study Of Hou Hsiao-hsien, Taiwan's Famous Director Of Movies Such As 'the Puppetmaster', 'city Of Sadness', 'flowers Of Shanghai', And 'goodbye South, Goodbye'. His Body Of Work Reflects A Unique Film Style Chracterized By Intricate Lighting, Improvisational Acting, And Long, Static Shots. Introduction: The Problem Of Hou /hsiao-hsien -- Hou And The Taiwanese Experience -- Hou And The Taiwanese New Cinema -- History In Its Place: City Of Sadness (1989) And The Puppetmaster (1993) -- Goodbye To All That: The New Hou From Good Men, Good Women (1995) To Flowers Of Shanghai (1998) -- Conclusion: Hou In The New Millennium. James Udden. Includes Bibliographical References (p. [211]-220) And Index. This pioneering study of Hou Hsiao-hsien illuminates the many distinctive achievements of Taiwan's famous director. His body of work in films such as The Puppetmaster, City of Sadness, and Flowers of Shanghai reflects a powerfully unique style characterized by intricate lighting, improvisational acting, and exceptionally long, static shots. James Udden argues that Hou's films reflect Taiwan's peculiar historical and geographical situation and could only have emerged there. Udden also examines the regional impact Hou's films have had on other Asian directors and cinema artists. This is a book-length study of Hou Hsiao-Hsien, Taiwan's famous director of movies such as 'The Puppetmaster', 'City of Sadness', 'Flowers of Shanghai', and 'Goodbye South, Goodbye'. His body of work reflects a unique film style characterized by intricate lighting, improvisational acting, and long, static shots Presents a study in English on Hou Hsiao-Hsien, Taiwan's famous director of movies such as "The Puppetmaster", "City of Sadness", "Flowers of Shanghai", and "Goodbye South, Goodbye". This book argues Hou's films reflect Taiwan's peculiar historical and geographical situation and could only have emerged there