By Guo-Juin Hong (auth.)
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Extra resources for Taiwan Cinema: A Contested Nation on Screen
Example text
Local production was impossible when talent was hard to regroup and production facilities were not in operational condition. These dire circumstances would begin to change for the better, however, when the second Nationalist delegation arrived on October 15, 1945. Along came Bai Ke, a film veteran, originally from Xiamen (also known as Amoy), who could communicate with the locals, thanks to his ability to speak a dialect very close to Taiwanese. Bai’s charge was to receive the film equipment and facilities from the Japanese and to kick-start a state-owned studio in preparation for future government-led production.
Later on, however, because of director He’s questionable association with the Communist Party, the film was banned in Taiwan in 1951. 5 Hua-Lien Harbor’s popularity in Taiwan was reputed to surpass that of the other exceptional productions in Taiwan in the early years after the restoration. In 1947, the Cathay Film Company in Shanghai was one of the earliest to send production teams to Taiwan. Cathay also began distributing films that same year. Two years later, in the early spring of 1949, as the conflict between the Nationalist and Communist factions intensified, Cathay sent a large and considerably well-equipped crew to Taiwan, preparing for a feature-length film, The Legend of Ali Mountain.
Those moments of linguistic play were potential forms of subaltern subversion, undermining the authorship of the films, and, by extension, the authoritarian hold the colonial regime had on the meaning of film texts. The benzi continued to exert considerable influence after the coming of sound in cinema. There are several reasons, the first of which is still language. Japan’s colonial government did not enforce an allout Japanese language policy until the Sino-Japanese War broke out Colonial Archives, Postcolonial Archaeology 23 in 1937.