We discuss this absorbing and extremely likeable film in the context of New Taiwanese Cinema. Chen Kunhou was then Hou’s regular cinematographer. This feels , to an extent, like a transition between the style of the earlier Hou films and the later ones. Hou Hsiao-hsien collaborated on the screenplay and we compare this to Hou’s earlier films (and find it lacking). There’s a sense that that this is a first try for ideas that were better developed in Boys from Fengkuei & Time to Live and a Time to Die.
There are spoilers in the podcast. The film is a maternal melodrama, where the mother’s point of view is sidelined in favour of the son’s, the husband’s, the society, a childhood schoolmate of the son. We find fault with the screenplay, the structure and the visual story-telling. What in Hou feel like ellipses that afford depth, here come across as unbelievable plot holes or plot twists. We are nonetheless very charmed by it and highly recommend.
Two old friends reunite after 13 years apart. Tan Weiqing (Terry Hu) was in love with the brother of Jia LI (Sylvia Chan) but the couple were forced to separate after he was forced into an arranged marriage with someone else. This ruined his life. Jia Li ran away to marry for love but ended up just as unhappy as her brother and her friend. Tan Weiqing lost herself in her work and became a famous concert pianist; the other started a successful business, but only after her husband disappeared, one day, at the beach. Did he die? Did he ran off to Japan after scamming millions from his work?.Could someone do that to someone they loved? Will Jia Li ever know? Does it matter? A poetic exegis on love, loss and happiness with a focus on women’s perspectives and experiences; a melodrama in art cinema mode, with gorgeous images beautifully shot by Christopher Doyle. Sylvia Chang is a luminous Jia LI, radiating strength, purpose, sadness and chic. Hou Hsiao-hsien appears as part of a gang of boisterous Wall Street types. The discussion may be listened to below:
Listeners might also be interested in seeing the opening scene of Wong Kar-Wei’s Days of Being Wild which illustrates my point about the shooting and editing styles:
Listeners might also be interested in this article on Silvia Chang from MUBI:
A discussion of OUR TIME, OUR STORY, a more traditional documentary than FLOWERS OF TAIPEI but all the better for it. A film that offers various kinds of contexts (production, distribution, exhibition, reception), historicises well, finds extraordinary archival footage, interviews many of the leading people involved in Taiwan’s New Cinema and really enhances our knowledge of the period, the movement, and the films themselves. The film boasts many clips often in a lamentably degraded state but one that really make us appreciate the value of the new restorations . The video may be listened to below:
After all our contextualising, we return to Hou Hsiao-hsien films proper, focussing on the masterpiece that is a City of Sadness. We are able now to discuss not only what the film feels like to watch or what it is about in formal terms but can now add various kinds of contexts: historical, political, social, aesthetic, industrial, and even how our own personal histories find echo in the film and how those echoes add a layer of insight and understanding into the film and perhaps also into ourselves. It makes for a rich but still — as is proper with all great works — initial and tentative discussion.
We continue with our discussion of Edward Yang films in relation to Hou Hsiao-hsien’s work. We discuss the film in relation to Postmodernism, Existentialism, contingency, nausea, chance. We note that Fredric Jameson wrote on Sartre, Postmodernism, and this film. We discuss, Yang’s characteristic visuals, his distinctive way of filming, narrating, and style of characterisation; a kind of mosaic sights, sounds, scenes which the viewer is left to piece together. We continue to be entranced.
Richard and I discuss our admiration of Edward Yang’s Taipei Story. It’s connection to Hou Hsiao-hsien, who stars and co-wrote the screenplay. It’s a mosaic of a film in which a relationship between two people, childhood sweethearts who care for each other, falls apart and as it does so we get to see stories of a people and of a city in transition in a country situated within two imperial cultures, Japanese and American, with mainland China always hovering on the background. It’s a beautiful film, with really striking, original and beautiful imagery: Yang’s flat face-on camera, uses of screens, reflections, the city always ever present in what is ultimately a chamber piece focussing on a couple and their immediate relations, the couple caught between a longed for past (on his part) and an uncertain future in hers. A truly great film.
Reflected on screens. Also see other images below:
clip of Pepsi imagery:
Yang & Hockney
Richard also recommends this article:
This is a great article although it ignores the Hokkien-language films! This artistic conservatism was partly the result of the Kuomintang government’s thirty-eight-year imposition of martial law, and while the New Taiwan Cinema did not become explicitly political until the late eighties, when the law was lifted, Yang’s and Hou’s early films were among the first to depict Taiwan as a place with a burgeoning sense of its own social and historical integrity, independent of a mainland China that had long considered it a mere repository.
A discussion of FLOWERS OF TAIPEI, a documentary on Taiwan New Cinema. José saw it twice; the first time finding it interesting but almost instantly forgettable; the second time it incensed him, seeming an attempt to get a production to pay for a director’s networking opportunities rather than a work that actually illuminates what Taiwan New Cinema might be; its history, contexts, development. We do get to see it’s impact on major names from East Asia. Richard is as always the voice of reason. The podcast can be listened to below:
A discussion of Hsin Chi’s THE RICE DUMPLING VENDORS (1969), a rare male melodrama. The protagonist kicks his wife out of the house for perceived infidelity; as soon as he does the whole family falls apart and is plunged in a spiral of poverty, the father at one point abandoning his baby even as his two minor children take on jobs in order to buy milk. The film documents a society on the cusp of modernity and suffering the effects of the social and economic effects produced by it. Stylistically, the film is highly skilled and gorgeous to look at. Character’s thoughts are offered in voice-over or through song. There is a mix of genres: noir/action/family-melodrama/documentary. It’s a cinephile’s film, with references to PSYCHO (1960) and other films. The music borrows from CINDERELLA (1950) as well as then current pop-hits as Sinatra’s version of ‘I’ve Got You Under My Skin’. We also discuss the extent to which this film is an influence on Hou Hsiao-hsien’s THE SANDWICH MAN (1983). The more Hsin Chi films we see, the more we like and value them.
If you haven’t yet seen the film, this trailer will hopefully entice you to:
We were delighted to see Su Chu (The People’s Grandmother), Chin Tu (Veteran Thespian), and especially Chin Mei (Tragic Goddess).
Continuing with our discussion of Hsin Chi films generously made available in wonderful versions by the Taiwan Film and Audiovisual Institute. This time the focus is on DANGEROUS YOUTH. We offer a bit of background on Hsin Chi; discuss how the film is similar to Nagisa Oshima’s CRUEL STORY OF YOUTH, Godard’s BREATHLESS, BEAT GIRL, and all the motorcycle gang Roger Corman films of the mid-sixties. The film has the thematics and energy of pre-code sex melodramas but surrounded by a rock-pop soundtrack stylised and transformed by foregrounding the sax. DANGEROUS YOUTH is visually inventive, with fascinating compositions, interesting intimations of nudity through shadows, compositions that make the most of the architecture to suggest interior states and external perspectives. The story of a young girl groomed into prostitution for money by the pimp she loves and the richer woman who is pulling his strings, is given sexy, noirish form and fascinating gender politics. Does anyone believe the end?
In this new podcast we discuss The Bride Who Returned From Hell, from a cycle of Hsin Chi films the Taiwan Film and Audiovisual Institute is currently providing free on You Tube and in excellent restorations. The film is based on Victoria Holt’s Mistress of Mellin (1960). We discuss its debt to Rebecca, Strangers on a Train,The Innocents, the Bond films, melodrama and the Gothic. We talk about its formal inventiveness in its use of a rotating camera and split screen. We also explore how its interspersed with musical numbers that often take place amongst a recognisable landscape. It’s a Taiwanese film where one can’t help but note its transnational dimension. It’s a film we both liked and recommend.
We once more thank the Taiwan Film and Audio-Visual Institute for the opportunity to see these marvellous copies of Lin Tuan-Chiu films. In the podcast we discuss the combination of genres in the film — melodrama, court-room drama, documentary, murder-mystery, musical. We discuss the acting in relation to revue theatre. We wonder if a scene from Hou’s Cute Girl finds its inspiration here….and much more.
We extend our thanks once more to the Taiwan Film & Audio-visual Institute for making these three Lin Tuan-Chiu films available. In this podcast we discuss Six Suspects, a 1965 mystery/noir that was never released. We discuss its peculiar flashback structure, the beauty of the imagery and composition in contrast to the other somewhat clunky aspects of narration, what the film tells us about the culture, its possible relation to Ozu in terms of compositions and to mid 60s Japanese Crime Drama in relation to look and style. A somewhat unsatisfying film that we nonetheless encourage people to see.
In this podcast we discuss the recent MUBI showings of King Hu’s Dragon Inn (967) and A Touch of Zen (1971), its relationship to the Wuxia genre and its influence on films such Crouching Tiger/ Hidden Dragon (Ang Lee, 2000), Hero (Zhang Yimou, 2002) and House of Flying Daggers (Zhang Yimou, 2004,) its later influence on more recent Taiwanese cinema, so obvious in Tsai Ming Liang’s Goodbye, Dragon Inn (2003) and Hou’s own The Assassin (2015). We discuss the beauty of its widescreen images, try to relate it to the work of Sergio Leone in relation to its use of landscape, and ruminate on the filming of action as ‘pure cinema’. We also discuss the distinctiveness of its use of female action heroines, particularly in relation to Western Cinema.
A treat. Part of a new series of mid-century Taiwanese films made available in wonderful restorations through the Taiwan Film and Audiovisual Institute. We are discussing the film as a context for, as a way of better understanding the cinema of Hou Hsiao-hsien. But we can’t help but discuss other elements that crop up: the career of Lin Tuan-qiu, the uses of melodrama, the extraordinary cinematography by Chen Cheng-fan and equally amazing lighting by Chen Tian-rong; we discuss how the film is a critique of patriarchy whilst also exploiting the visual aspects of women sinning; the films seems both visually sophisticated but also an example of what many will see as crude stereotypical melodrama, and fascinating for that. It’s a plot-laden film, full of twists, and totally engrossing. We discuss the uses of flashbacks and flashbacks within flashbacks; the voice-over elements by a narrator that seems omniscient and can’t quite be placed; we critique the choppiness of the editing whilst praising some of the on-location shooting. We see clear roots in theatre and theatrical forms of acting and delight in the uses of on-location shooting. A weird and fascinating combination of cine-literate sophistication with a kind of crudity of acting and mode which we highly recommend not only to those interested in Taiwanese Cinema but also those interested in melodrama. The podcast can be listened below:
Melodramatic Mode: I have captured images which lovers of melodrama will see as archetypal to the genre in terms of image, situation, dialogue, plot. It’s like a primer and worth looking through for the sub-titles alone:
We have also included the following clips that are referred to in the podcast:
Rape and Misfortune:
Pimping and Memory:
Memory of Bliss:
Melodramatic Revelations 1:
Melodramatic Revelations2:
Arrangements for the baby:
Baby 2 -Epilogue
In addition to the above:
Richard has found this wonderful link by By Ming-yeh & T. Rawnsley on ‘An Introduction to a Taiyupian Filmmaker, Lin Tuanqiu’: Lin-Tuanqiu-article
We discuss Daughter of the Nile as a transitional film for Hou, the relatively few locations (the house, KFC, the nightclub, the beach etc) in which the film is set, the now typical Hou way of filming from repeating fixed camera positions with little or no movement; the way the protagonist remains relatively unknowable, the fractured family on the edges of criminality across generations, the lack of judgment on that, the continued use of fart jokes, the context in which the film was made (end of Martial law, ongoing relationship with American consumer culture etc). A film José didn’t quite like as much as Richard but which nonetheless rewarded a second viewing. The podcast may be listened to below:
Listeners might be interested in this wonderful introductory lecture to Hou Hsiao-hsien’s cinema by the great Tony Rayns:
Andrew Chan in the November-December 1917 issue of Film Comment calls Daughter of the Nile a ‘ a scabbed wound of a film whose identification with disaffected city youth paved the way for the harsher provocations of Tsai Ming-liang a half-decade later’.
In Slant Magazine: ‘Taiwanese director Hou Hsiao-hsien’s compositions arrange walls, doors, and windows as frames within a frame, visually trapping characters under the weight of their relationships and responsibilities. …
‘Sandwiched as it is between the two major trilogies in Hou’s canon—the first (A Summer at Grandpa’s, A Time to Live and a Time to Die, and Dust in the Wind) focused on the filmmaker’s personal memories, and the second (A City of Sadness, The Puppetmaster and Good Men, Good Women) on Taiwan’s fraught history—Daughter of the Nile is often overlooked. Yet in its elegiac, ambivalent view of neon-streaked city streets and youth floundering in a unfathomably huge cultural transition, it points the way toward Hou’s later films like Goodbye South, Goodbye and Millennium Mambo. The film is also one of Hou’s most accessible works, its depiction of angst-ridden, Westernizing youth fitting well within contemporaneous Taiwanese New Wave cinema while showcasing the director’s formal idiosyncrasy.
In a lovely review for The Monthly Film Bulletin, Tony Rayns writes, ‘In a curious way, Hou’s cinema seems to e edging closer and closer to Bresson. His preference for long, fixed-angle takes in which his characters simply go about their business increasingly succeeds in rhyming exterior gesture with unspoken, interior thoughts. In a word, his cinema is becoming more spiritual’. It can be accessed here: rayns
…and with thanks to Richard’s super research skills, the theme tune for the video
— Josés increasing Scholarly Bibliography on Hou which we will add to after every episode:
-Andres, Nigel, ‘A Camera Trained on Eternal Truths, Financial Times, London: 07 June 2005: 13.
-Assayas, Olivier, Modern Time, Film Comment; Jan/Feb 2008; 44, p. 48
-Combs, Geoffrey, ‘ Dust in the Wind/ Lianlian Feng Chen’, Monthly Film Bulletin, April 1, 1990;57, 675, pg.111.
-Diffrient, David Scott ,’The Sandwich Man: History, episodicity and serial conditioning in a Taiwanese omnibus film’, Asian Cinema, vol 25, no., pp. 71-92,
-Cheshire, Godgrey, ‘Time span: The cinema of Hou Hsio-hsien’, Film Comment; Nov 1993;29, 6, pg. 56.
-Ellickson , Lee and Hou Hsiao-hsien, Preparing to Live in the Present; An interview with Hou Hsiao-hsien, Cineaste, Fall 2002, vol 27, no. 4 (Fall 2002), pp. 13-19
-Hastie, Amelie, ‘Watching Carefully: Hou Hsiao-Hsien and His Audience’, Film Quarterly, vol. 69, no. 3 (Spring 2016), pp. 72-78
-Kenigsberg, Ben . ‘Looking for an Introduction to Taiwan’s Greatest Filmmaker? Start Here’. New York Times (Online) , New York: New York Times Company. May 28, 2020.
-Lupke, Christopher (The Sinophone Cinea of Hou Shiao-hsien: Culture, Stuyle, Voice and Motion, amherst: Cambria Press.
-Rayns, Tony, Esprit de corp, Film Comment; Nov. Dec. 2007, 43, 6, p. 14
-Rayns, Tony, ‘Tongnian Wangshi (The Time To Live and The Tine to Die), Monthly Film Bulletin; Jun 1, 1988; 55, 653
-Rayns, Tony, ‘Daughter of the Nile’ Monthly Film Bulletin, April 1, 989, 56, 663.
-Stanbrook, Alan, The Worlds of Hou Hsiao-hsien’, Sight and Sound, Spring 1990; 59, 2, Rayns, Tony, ‘Auteur in the Making’, Sight and Sound; July 2016;26, 9; p. 98
-Sklar, Robert, ‘Hidden History, Modern Hedeonism; The films of Hou Hsia-hsien’, Cineaste, Fall 2002; 27, 4, pg. 11.
-Udden, James, ‘Taiwanese Popular Cinema and the Strage Apprenticeship of Hou Hsiao-hsien, Modern Chinese Literature and Culture, Spring, 2003, vol. 15, no. Special Issue on Taiwan Film Spring, 2003), pp. 120-145.
-Udden, James, ‘Dust in the Wind: A Definite Hou/ New Cinema Work’, The Cupola, 08-2014 (This book chapter is available at The Cupola: Scholarship at Gettysburg College: https://cupola.gettysburg.edu/idsfac/21)
-Xia Cai, Chapter 1: Hou Hisao-Hsien Films and Readings, The Ethics of Witness: Dailiness and History in Hou Hsia-hsien’s Films, Springer: Singapore, 2019, pp. 1-3
-Yueh-yu, Yeh. Post Script – Essays in Film and the Humanities; Commerce, Tex, Vol 20, Iss 2-3 (Winter 2000) 61-76.
Y-ip, June, ‘Taiwanese New Cinema’ in The Oxford History of World Cinema, Geoffrey Nowell-Smith ed. New York, United States, Oxford University Press, 1996)
-Wen, Tien-Hsiang (trans by GAN Sheuo Hui), ‘Hou Hsiao-Hsien: a standard for evaluating Taiwan’s cinema), Inter-Asia Cultural Studies, vol 9, number 2, 2008.
A beautiful film, a continuation of a cycle of autobiographical films (The Boys From Fengkuei,A Summer at Grandpa’s). We continue our discussion of framing, ellipses, cinema, letters, the country and the city, heartbreak and exploitation, and all those other formal and thematic elements that make Hou’s cinema so great. James Udden’s wonderful article (see below) has been very useful in the discussion:
Dust in the Wind: A Definite Hou/ New Cinema Work’, The Cupola, 08-2014 (This book chapter is available at The Cupola: Scholarship at Gettysburg College: https://cupola.gettysburg.edu/idsfac/21)
— The beginnings of Josés Scholarly Bibliography on Hou which we will add to after every episode:
-Andres, Nigel, ‘A Camera Trained on Eternal Truths, Financial Times, London: 07 June 2005: 13.
-Assayas, Olivier, Modern Time, Film Comment; Jan/Feb 2008; 44, p. 48
-Combs, Geoffrey, ‘ Dust in the Wind/ Lianlian Feng Chen’, Monthly Film Bulletin, April 1, 1990;57, 675, pg.111.
-Diffrient, David Scott ,’The Sandwich Man: History, episodicity and serial conditioning in a Taiwanese omnibus film’, Asian Cinema, vol 25, no., pp. 71-92,
-Cheshire, Godgrey, ‘Time span: The cinema of Hou Hsio-hsien’, Film Comment; Nov 1993;29, 6, pg. 56.
-Ellickson , Lee and Hou Hsiao-hsien, Preparing to Live in the Present; An interview with Hou Hsiao-hsien, Cineaste, Fall 2002, vol 27, no. 4 (Fall 2002), pp. 13-19
-Hastie, Amelie, ‘Watching Carefully: Hou Hsiao-Hsien and His Audience’, Film Quarterly, vol. 69, no. 3 (Spring 2016), pp. 72-78
-Kenigsberg, Ben . ‘Looking for an Introduction to Taiwan’s Greatest Filmmaker? Start Here’. New York Times (Online) , New York: New York Times Company. May 28, 2020.
-Lupke, Christopher (The Sinophone Cinea of Hou Shiao-hsien: Culture, Stuyle, Voice and Motion, amherst: Cambria Press.
-Rayns, Tony, Esprit de corp, Film Comment; Nov. Dec. 2007, 43, 6, p. 14
-Rayns, Tony, ‘Tongnian Wangshi (The Time To Live and The Tine to Die), Monthly Film Bulletin; Jun 1, 1988; 55, 653
-Stanbrook, Alan, The Worlds of Hou Hsiao-hsien’, Sight and Sound, Spring 1990; 59, 2, Rayns, Tony, ‘Auteur in the Making’, Sight and Sound; July 2016;26, 9; p. 98
-Sklar, Robert, ‘Hidden History, Modern Hedeonism; The films of Hou Hsia-hsien’, Cineaste, Fall 2002; 27, 4, pg. 11.
-Udden, James, ‘Taiwanese Popular Cinema and the Strage Apprenticeship of Hou Hsiao-hsien, Modern Chinese Literature and Culture, Spring, 2003, vol. 15, no. Special Issue on Taiwan Film Spring, 2003), pp. 120-145.
-Udden, James, ‘Dust in the Wind: A Definite Hou/ New Cinema Work’, The Cupola, 08-2014 (This book chapter is available at The Cupola: Scholarship at Gettysburg College: https://cupola.gettysburg.edu/idsfac/21)
-Xia Cai, Chapter 1: Hou Hisao-Hsien Films and Readings, The Ethics of Witness: Dailiness and History in Hou Hsia-hsien’s Films, Springer: Singapore, 2019, pp. 1-3
-Yueh-yu, Yeh. Post Script – Essays in Film and the Humanities; Commerce, Tex, Vol 20, Iss 2-3 (Winter 2000) 61-76.
Y-ip, June, ‘Taiwanese New Cinema’ in The Oxford History of World Cinema, Geoffrey Nowell-Smith ed. New York, United States, Oxford University Press, 1996)
-Wen, Tien-Hsiang (trans by GAN Sheuo Hui), ‘Hou Hsiao-Hsien: a standard for evaluating Taiwan’s cinema), Inter-Asia Cultural Studies, vol 9, number 2, 2008.
We continue our discussion of the work of Hou Hsiao-hsien, this time with a focus on The Time to Live and The Time to Die, the second in his cycle of autobiographical films after The Boys from Fenkuei.
In the podcast below, we discuss what is depth in this film and talk about Hou’s consideration of ‘traces ‘in the surfaces of his films, how depth is often inextricable from surface in his work. We note the structuring of this film, a bildungsroman, around a series of deaths. We talk of how often the key narrative points are obscured, and make sense only in the connections the viewers can make subsequently; how Hou often films in fixed positions, so we return to the same scene but across time, and we think about how this might affect all those spaces without faces, the anticipatory space, and the remains after characters have left the scene. We also explore the dual perspective in the film, the filmmaker’s and the protagonist’s, often intersecting, rarely interchangeable. We mention how Hou narrates the beginning of the film and how the drama is filmed in the real places and spaces he grew up in, and the effect of dramatising fictionally, on our speculation of the effects of spaces across time in this narrative….and much more. The podcast can be listened to below:
José did a supercut of places without faces in Hou Hsiao-hsien’s A Time to Live and a Time to Die‘(with added atmosphere by Duke Ellington) that is referred to in the podcast and can be seen below:
The clip of the conversation between mother and daughter referred to in the podcast can be seen here:
José also did a trailer for the film, which may be found here:
and he adds an extended interview with Hou Hsiao-hsien and Chu T’ien-wen. Time to Live is not mentioned but they talk about how he became a filmmaker and also the birth of the New Taiwanese Cinema:
-A good overview of the autobiographical and historical context, and the source of the quote about the ending (“The making of the movie is the happy ending the film itself so crushingly lacks, if a happy ending is even possible.”
The Time to Live and The Time to Die was one of Derek Malcolm’s 100 greatest films in a series he did in 2000. He talks about how comparatively little known Hou was in the UK at that point, and also was the initial source for the discussion on the title https://www.theguardian.com/culture/2000/aug/03/artsfeatures1
— The beginnings of Josés Scholarly Bibliography on Hou which we will add to after every episode:
Andres, Nigel, ‘A Camera Trained on Eternal Truths, Financial Times, London: 07 June 2005: 13.
Assayas, Olivier, Modern Time, Film Comment; Jan/Feb 2008; 44, p. 48
David Scott Diffrient’s, ‘The Sandwich Man: History, episodicity and serial conditioning in a Taiwanese omnibus film’, Asian Cinema, vol 25, no., pp. 71-92,
Cheshire, Godgrey, ‘Time span: The cinema of Hou Hsio-hsien’, Film Comment; Nov 1993;29, 6, pg. 56.
Ellickson , Lee and Hou Hsiao-hsien, Preparing to Live in the Present; An interview with Hou Hsiao-hsien, Cineaste, Fall 2002, vol 27, no. 4 (Fall 2002), pp. 13-19
Hastie, Amelie, ‘Watching Carefully: Hou Hsiao-Hsien and His Audience’, Film Quarterly, vol. 69, no. 3 (Spring 2016), pp. 72-78
Kenigsberg, Ben . ‘Looking for an Introduction to Taiwan’s Greatest Filmmaker? Start Here’. New York Times (Online) , New York: New York Times Company. May 28, 2020.
Lupke, Christopher (The Sinophone Cinea of Hou Shiao-hsien: Culture, Stuyle, Voice and Motion, amherst: Cambria Press.
Rayns, Tony, Esprit de corp, Film Comment; Nov. Dec. 2007, 43, 6, p. 14
Rayns, Tony, ‘Tongnian Wangshi (The Time To Live and The Tine to Die), Monthly Film Bulletin; Jun 1, 1988; 55, 653
Stanbrook, Alan, The Worlds of Hou Hsiao-hsien’, Sight and Sound, Spring 1990; 59, 2, Rayns, Tony, ‘Auteur in the Making’, Sight and Sound; July 2016;26, 9; p. 98
Sklar, Robert, ‘Hidden History, Modern Hedeonism; The films of Hou Hsia-hsien’, Cineaste, Fall 2002; 27, 4, pg. 11.
Udden, James, ‘Taiwanese Popular Cinema and the Strage Apprenticeship of Hou Hsiao-hsien, Modern Chinese Literature and Culture, Spring, 2003, vol. 15, no. Special Issue on Taiwan Film Spring, 2003), pp. 120-145.
Xia Cai, Chapter 1: Hou Hisao-Hsien Films and Readings, The Ethics of Witness: Dailiness and History in Hou Hsia-hsien’s Films, Springer: Singapore, 2019, pp. 1-3
Yueh-yu, Yeh. Post Script – Essays in Film and the Humanities; Commerce, Tex, Vol 20, Iss 2-3 (Winter 2000) 61-76.
Yip, June, \the Oxford History of World Cinema, Geoffrey Nowell-Smith ed. New York, United States, Oxford University Press, 1996)
Wen, Tien-Hsiang (trans by GAN Sheuo Hui), ‘Hou Hsiao-Hsien: a standard for evaluating Taiwan’s cinema), Inter-Asia Cultural Studies, vol 9, number 2, 2008.
Our next podcast will be on THE TIME TO LIVE AND THE TIME TO DIE. The trailer below will hopefully give a taster of the film for those who might not yet have seen it:
A supercut of the spaces without faces in Hou’s A Time to Live, which added up to an impressive 7m23 of empty street, houses etc. I brought in some Duke Ellington to jazz it all up a bit:
