Poetics and politics of Hou Hsiao-hsien’s films

    Research output: Journal PublicationsJournal Article (refereed)peer-review

    Abstract

    Taiwanese director Hou Hsiao-hsien's films always have abrupt endings, which invite a reconstruction of the story piece by piece. These endings epitomize his film art - detached, distant and, at the same time, quotidian and compassionate. This style not only bears Hou's directorial signature but also encapsulates "Hou Hsiao-hsien" as a discursive object in Taiwan. In Taiwan's film history, no other director has ever been bestowed with as many international awards as Hou; and in the 1980s and 1990s, no other film director evoked as many polemics as Hou did. He is treated to harsh scrutiny by critics in Taiwan. What Hou Hsiao-hsien signifies at home is never truly about film, or film studies. Instead, the contradictory meanings that arise from him and his works represent a cobweb of authenticity, commodity, and discursive power. "Hou Hsiao-hsien," therefore, is a key to understanding Taiwanese cinema, its form, reception, and politics.
    Original languageEnglish
    Pages (from-to)61-76
    Number of pages16
    JournalPost Script
    Volume20
    Issue number2-3
    Publication statusPublished - 1 Jan 2001

    Bibliographical note

    This article also published in S. H. Lu and E. Y.-y. Yeh (eds.) (2005), Chinese-language film: Historiography, poetics, politics (pp. 163-185). Honolulu: University of Hawaiʻi Press.

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