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Redefining Taiwan New Cinema as Borderless Transcultural Cinema from Taiwan

重新定義臺灣新電影:臺灣之無邊界跨文化電影

Abstracts


When one is looking to understand a people's culture, researching its cinema is a very good place to start. Ever since I came to live in Taiwan almost ten years ago, I have been trying to understand culture in Taiwan and especially to find a vocabulary for my experience as a Dutchman living in Taiwan. It was only when I stumbled upon the concept of transculturality that I realized I had been mistakenly taking culture as something homogeneous and typical for a specific nation or group. In this paper, I will explore a better way to understand culture in Taiwan by arguing that society in Taiwan is a community that evidences a sense of non-nation-ness through the workings of the process of transculturality, and that this can be shown foremost in its New Cinema, first and second waves, from the 1980s through the early 2000s. By taking examples from Taiwanese New Cinema feature films, I will examine the major cultural element of language and analyze the development over some time in Taiwan. To build my argument in this, I will first introduce the concept of transculturality as described by Wolfgang Welsch. Subsequently, I will discuss the phenomena of language in Taiwanese society and elaborate on how the Taiwan cultural outlook as presented in Taiwan New Cinema can be explained by the concept of transculturality. For this, I will bring forward several feature films from the Taiwan New Cinema waves from which I will draw examples that support my argument. With this paper, I will suggest redefining Taiwan New Cinema as Transcultural Cinema marked by borderlessness and made in Taiwan. And as such this paper contributes to the discussion on how to define Taiwan New Cinema, as well as the study of Taiwanese culture and society, through the research on its cinema and through the lens of transculturality.

Parallel abstracts


欲了解一個民族的文化,研究其電影是個不錯的起始點。自從十年前左右來到臺灣居住,筆者即不斷試圖了解臺灣文化,尤其嘗試找到一個足以說明荷蘭人在臺居住經驗的詞彙。在偶然接觸到跨文化(transculturality)這個概念後,筆者才了解到自己一直以來將文化錯誤地理解為是特定國家、族群的同種、同質及典型的某些元素。筆者主張臺灣社會是一個社群,透過跨文化的運作,證明了非國家(non-nation-ness)的觀念,並從1980年代到2000年早期,率先展現在其第一波及第二波新電影的浪潮中。以具臺灣新電影(Taiwan New Cinema)特色的影片為例,筆者將檢視以語言為主要文化的元素,並分析臺灣這段時期的發展。本論文首先介紹韋爾施(Wolfgang Welsch)所闡述的跨文化概念,接著將討論臺灣社會中的語言現象,並闡明呈現在臺灣新電影中的文化觀如何詮釋跨文化概念。筆者將從臺灣新電影中舉出幾部具代表性的影片為例子,藉本論文重新定義臺灣新電影為臺灣出品,且無邊界(borderlessness)之跨文化電影,並且透過對臺灣電影的研究及跨文化之視角,筆者欲在如何定義臺灣新電影,並在臺灣文化、社會之研究上,略盡綿薄之力。

Parallel keywords

臺灣文化 臺灣新電影 跨文化 無邊界 跨文化電影

References


A Time to Live, A Time to Die. Directed by Hou, Hsiao-hsien. Central Motion Pictures Corporation, 1985.
Anagnost, Ann. National Past-times: Narrative, Representation and Power in Modern China. Duke UP, 1997.
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Verso, 1991.
Back to Anping Harbor. Directed by Wu, Feijian. Tainan Longsheng Film Company, 1972.
Berry, Chris. “Heterogeneity as Identity.” Metro, vol. 91, 1992, pp. 48-51.

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