By Kate E. Taylor, Kate E. Taylor-Jones
East Asian cinema has develop into a world phenonemon, and administrators corresponding to Park Chan-wook, Wong Kar Wai, and Takashi Miike became loved ones names. Dekalog four: On East Asian Filmmakers solicits students from Japan, Hong Kong, Switzerland, North the United States, and the U.K. to supply certain readings of chosen East Asian administrators and their works. administrators tested contain Zhang Yimou, Apichatpong Weerasethakul, Rithy Panh, Kinji Fukasaku, and Jia Zhangke, and the quantity comprises one of many first surveys of jap and chinese language woman filmmakers, offering singular perception into East Asian movie and the filmmakers that experience introduced it worldwide recognition.
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135). For many, the romances of Qiong Yao are as socially and culturally relevant as the more political celluloid that would later be produced by movements such as the Taiwanese New Wave. After 1980 the emergence of the Taiwanese New Wave saw ‘social realist films’ become the mainstream of Mandarin-language films. Films around this time tended to portray sex, violence, gambling, gangs and underground societies and the focus was on the underbelly of modern Taiwan. Around this time a sub-stream of films that featured ‘revenge-seeking girls’ appeared.
Mabel Cheung’s 1998 film City of Glass is a beautiful reminiscing of Hong Kong’s history from the 1960s through to 1997 (although very different in tone compared to Ann Hui’s Ordinary Heroes which examines a similar topic). Her last feature film was Beijing Rocks (2001) exploring the 32 WOMEN’S TRAJECTORIES IN CHINESE AND JAPANESE CINEMAS underground rock scene. Her most recent production, in which she worked as producer, is the very touching Echoes of the Rainbow (2010). Interestingly, this is the ‘come-back’ work of Cheung and her husband Alex Law who have worked closely throughout their respective film careers.
Columbia: Columbia University Press. Xue, Huiling and Wu Junhui (1994) The Era of Taiwanese Language Cinema. Taipei: National Film Archive. Yang, Yuanying (1996) Her Voices: Recounts from Ten Chinese Female Directors. Beijing: Social Science Press. Yang, Yuanying and S. Louisa Wei (2009) Women’s Cinema: Dialogues with Chinese and Japanese Female Directors. Shanghai: Eastern China Normal University Press. Yau, Ching (2004) Filming Margins: Tang Shu Shuen, a Forgotten Hong Kong Woman Director. Hong Kong: Hong Kong University Press.