Strategy of Heterogenization in the Global Age: Discussion on the Taiwaneseness in Cape No.7 and the History of Taiwan Cinema
| Autor: | Sung, Yu-Cheng, 宋育成 |
|---|---|
| Rok vydání: | 2012 |
| Druh dokumentu: | 學位論文 ; thesis |
| Popis: | 100 After the huge success of Cape No.7, the highest-grossing Chinese-language film in Taiwan's cinematic history, a series of Taiwanese popular films had shown up and become a force which can compete with Hollywood films at the local commercial market. In those popular films, we can find many distinctive local features that can be called “Taiwneseness” as a distinguishing cultural characteristic. As Kui-fei Chiu defined, “Taiwaneseness” can be explored in the historical development of Taiwan, and must consider the interaction between local and global forces. If Taiwanese films use local stories and images as a practicable way to compete with global forces like Hollywood films, then it must be the heterogeneous strategy to contend with the trend of globalization. The question is, if we call the heterogeneous strategy “Taiwaneseness”, what exactly is it in Taiwan cinema? In the history of Taiwan cinema, the contemporary “Taiwaneseness” in films can be traced back to the “Taiwan New Cinema” (also known as Taiwan New Wave films) in 1980s. It combined local images and western artistic film styles that had made it acceptable for the international art film market and aesthetic discourses. This mode has been inherited by so call “Post-New Cinema” in 1990s to this day. However, the lack of popular forms and styles made native Taiwanese films facing a crisis of extinction. In 2000s, Taiwanese directors and producers tried to find a salvation with the opportunity of transnational productions like Crouching Tiger, Hidden Dragon and Double Vision. Some of them believed that cultural internationalism and reducing local features are the key points to attract Taiwanese audience. But in 2008, Cape No.7 subverted the concept of making popular films. This film, which used local elements of Taiwanese history and contemporary life experience, accidently made wide sympathetic responses between Taiwanese audiences. Its success inspired further filmmakers to have faith in Taiwanese culture and audience, making popular films more local and regional. This thesis tried to discover the development of cinematic “Taiwaneseness” through a historical view. It is a cultural competition between global and local, not simply opposing but also interflowing and fusing. In sum, grassroots globalization can be a way to face global trend for local culture. That is how Taiwanese films stand out in a bunch of foreign and transnational films. |
| Databáze: | Networked Digital Library of Theses & Dissertations |
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