Over thirty years ago broke the Taiwanese cinema through to the west. Hou Hsiao-hsien and Edward Yang were the spearheads of the Taiwanese new wave and are now still among the best directors ever. Taiwan Panorama This shows also that before them (King Hu, Lee Hsing) and after them (Tsai Ming-liang, Ang Lee) intriguing cinema was made on the island. CINEMATEK provides an overview of the Taiwanese cinema from 1963 to 2015 in more than 50 films.
1963, not coincidentally the beginning of this retrospective. The Central Motion Picture Corporation (CMPC), the major film producer, introduced when the healthy realism which marked a caesura in the Taiwanese film. Films that showed sympathy with communism or the political government of the PRC were suspicious. The work had to support the policy of the Government of Taiwan and are a harmonious society that has evolved into an increasingly higher level of happiness.
Inventive directors succeeded despite these limitations still turning refreshing films. The most important was Lee Hsing (Oyster Girl, Beautiful duckling, The young ones). It also fell to escape the constraints of healthy realism by turning historical films. King Hu, who had made career in Hong Kong, moved to Taiwan in 1966, stunned right away with Dragon Gate Inn and later turned Raining in the mountains.
A younger generation of directors appeared not to be happy with the rules of CMPC and tried to evade in a radical way. Hou Hsiao-hsien, whose work we fully exhibit (see p. XX) and Edward Yang were the standard-bearers of what would become known as the Taiwanese new wave. Love, at first very cautious, and Yang immediately without much hesitation, showed the back of the Taiwanese dream. The latter poked the turmoil in Taipei Story and his magnum opus A brighter summer day. In the wake of Hou and Yang also dared to stir other young directors like Chen Kun Hao (Growing up), Wan Jen (Ah Fei), Chang Yi (Jade love) and Wang Tung (Banana Paradise).
The directors of the Taiwanese New Wave paved with their daring films the way for a new generation who had to fight just as hard to make his sentence. Tsai Ming-liang (from a Chinese family in Malaysia) developed his own laconic style and imagery, as evidenced by Goodbye Dragon Inn and Stray dogs. Ang Lee built his career partly in the United States, but he definitely started to run with some films in Taiwan (including Eat Drink Man Woman).
In the 21st century, the Taiwanese cinema richer than ever. Some directors of the new wave are still active, the next generation also and above there were still interesting filmmakers. As Hou Chi-jan (One day), Chung Mong-Hong (Parking) or actor Leon Dai which sat behind the camera for No puedo vivir sin ti. This Taiwan Panorama lets you discover the richness of the Taiwanese cinema in all its fullness.
Inventive directors succeeded despite these limitations still turning refreshing films. The most important was Lee Hsing (Oyster Girl, Beautiful duckling, The young ones). It also fell to escape the constraints of healthy realism by turning historical films. King Hu, who had made career in Hong Kong, moved to Taiwan in 1966, stunned right away with Dragon Gate Inn and later turned Raining in the mountains.
A younger generation of directors appeared not to be happy with the rules of CMPC and tried to evade in a radical way. Hou Hsiao-hsien, whose work we fully exhibit (see p. XX) and Edward Yang were the standard-bearers of what would become known as the Taiwanese new wave. Love, at first very cautious, and Yang immediately without much hesitation, showed the back of the Taiwanese dream. The latter poked the turmoil in Taipei Story and his magnum opus A brighter summer day. In the wake of Hou and Yang also dared to stir other young directors like Chen Kun Hao (Growing up), Wan Jen (Ah Fei), Chang Yi (Jade love) and Wang Tung (Banana Paradise).
The directors of the Taiwanese New Wave paved with their daring films the way for a new generation who had to fight just as hard to make his sentence. Tsai Ming-liang (from a Chinese family in Malaysia) developed his own laconic style and imagery, as evidenced by Goodbye Dragon Inn and Stray dogs. Ang Lee built his career partly in the United States, but he definitely started to run with some films in Taiwan (including Eat Drink Man Woman).
In the 21st century, the Taiwanese cinema richer than ever. Some directors of the new wave are still active, the next generation also and above there were still interesting filmmakers. As Hou Chi-jan (One day), Chung Mong-Hong (Parking) or actor Leon Dai which sat behind the camera for No puedo vivir sin ti. This Taiwan Panorama lets you discover the richness of the Taiwanese cinema in all its fullness.
