In keeping with the austerity of their cinematography and use of music, New Taiwanese films typically also feature geometric mise-en-scène. Love (2014), the 11th highest grossing domestic Taiwanese film of all time. The director gets about NT$140 million. Love (2014) (#11 with NTD 260 million), Monga (2010) (#12 with NTD 258 million), The Wonderful Wedding (2015) (#13 with NTD 250 million), Beyond Beauty: Taiwan from Above (2013) (#14 with NTD 220 million), and Twa-Tiu-Tiann (2014) (#15 with NTD 210 million). In keeping with their anti-climactic narratives, New Taiwanese films avoid close-ups partially as a way of eschewing “drama,” seeing as detailed shots of characters’ faces inherently heighten or emphasize whatever emotions the characters are feeling. In order to compete with Hong Kong films, the CMPC began an initiative to support several fresh, young directors. Emerging during the 1980s, the first phase is sometimes called the “First Taiwanese New Wave,” and it encompassed the films of directors like Hou and Yang. Other films catered to Japanese audiences exotic desires for Taiwan as a place of adventure and danger such as Conquering Taiwan's Native Rebels (1910) and Heroes of the Taiwan Extermination Squad (1910). Lu Su-shang, is not primarily remembered for his benshi performances, but mainly for writing the inestimable history of cinema and drama in Taiwan. The record-breaking achievement led the revival of Taiwanese cinema, e.g. And diplomatically, Taiwan has grown increasingly isolated on the international stage. In contrast to the melodrama or kung-fu action films of the earlier decades, New Taiwanese Cinema films are known for their realistic, down-to-earth, and sympathetic portrayals of Taiwanese life. Here’s a look at some of these similarities: The best-known New Taiwanese films are defined by their willingness to discuss sensitive topics in Taiwanese history. For example, A Brighter Summer Day is ostensibly based on a true story about a teenage boy who brazenly murdered his girlfriend on a public street. To begin with, the Hong Kong film industry viewed Taiwan as both an important market and a good place to produce films. The Government Information Office is in charge of the film grant. [25], Wang, George Chun Han (2012). Island on the Edge: Taiwan New Cinema and After. It raked in 530 million TWD (17.9 million USD) domestically, setting an all-time box office record for a Taiwanese film, and is currently the highest grossing Taiwanese domestic film of all time. CMPC is the longest running production company in Taiwan which was established in 1954. From the late Japanese colonial period to martial law in Taiwan, the development of Taiwanese film was dominated by the official camp studio development. Documentaries also receive support from other government agencies and private corporations. Taiwanese cinema was the first, and from 1900 to 1937, one of the most important of Japan's colonial film markets during the era of Japanese rule. In recent years, documentary films from Taiwan have also become more popular. In the 1980s, the KMT lifted restrictions on trade and foreign investment, a decision that accelerated the pace of globalization – and, by extension, urbanization as well – in Taiwan. [citation needed] Taiwan's film industry went into decline in 1994 and collapsed in 1997 because of the growing popularity of movie piracy. His nearly four-hour film A Brighter Summer Day (1991), considered by many to be his masterpiece and the defining work of the New Taiwanese Cinema, deals with Taiwan's struggle in the 1960s to find its identity after the Kuomintang invaded Taiwan and brought numerous Chinese immigrants to the new republic, who expected to return to China once the Communists had been defeated. They weren’t so much interested in telling stories as they were in evoking, analyzing, and critiquing an atmosphere and way of life. [21] Successful films that focus on Taiwan have therefore predominantly been independent, low-budget, and aimed at the local market,[20][23] such as John Hsu's Detention, which received five awards including Best Director at the 56th Golden Horse Awards. The most famous Taiwan directors such as HOU Hsiao-hsien, Edward YANG, Ang LEE and TSAI Ming-liang all shot their early works in CMPC. Durham, NC: Duke University Press, 2004. Taiwan Film Directors: A Treasure Island. In surveys, moreover, critics continue to rank the works of these directors as some of the finest ever made. It rapidly evolved into a star system but one based on the Japanese system. Edward Yang. Hong Kong: Hong Kong University Press, 2005. While each New Taiwanese director has a unique worldview and style, their films still have a fair number of things in common. My Campy Slumber Party: Xanadu, Muses, and Disco, Oh My! In the manifesto, the 54 New Taiwanese filmmakers expressed three major concerns. In 2014, Umin Boya directed a baseball film entitled Kano (2014), which ended up grossing over NT$330 million, making it the 6th highest grossing domestic Taiwanese film of all time. Theatrical, TV, DVD-video, VOD, Airline, TAIWAN. But while a Hollywood film would have turned this incident into the subject of a suspenseful thriller, A Brighter Summer Day treats it as a mere afterthought. The fund is somewhat controversial yet is still well supported. Rather, these films prefer to shoot their characters in such a way that we also see what environment the characters are located in, whether it’s an apartment, an office building, or a city street. In recent years, Taiwan's film industry has received recognition due to a number of internationally respected filmmakers, such as Hou Hsiao-hsien, Edward Yang, and the Malaysian-Chinese Tsai Ming-liang. Additionally, by making the characters seem unimportant and tiny, the use of non-close-up shots suggests a certain insignificance on the characters’ part, as though they were deindividualized cogs in a vast and indifferent society. During this time, traditional kung fu films as well as romantic melodramas were also quite popular. For example, Tsai Ming-liang's Vive L'Amour, which won the Golden Lion at the 1994 Venice Film Festival, portrays the isolation, despair, and love of young adults living in the upscale apartments of Taipei. This began the rejuvenation of Taiwanese cinema known as the New Wave. In 2013, Chiu Li-kwan's film David Loman (2013) earned NTD 428 million, making it The 3rd highest grossing domestic Taiwanese film of all time. The Ill-gotten Party Assets Settlement Committee yesterday said that it would grant requests by Central Motion Pictures Corp (CMPC) to access its assets to keep its business plans afloat, provided the requests pass a bimonthly review and that the projects serve public interest. If you weren’t in a charitable mood, for instance, you could say that films like Rebels of the Neon God and Vive L’Amour are really just about a bunch of people who look sad, wander around impersonal city landscapes, and feel that life is pointless. [4], Many conventions in Japanese films were adopted by the Taiwanese filmmakers. Generally speaking, camera movements are used economically: in some of Hou’s films (e.g. Cape No. The New Taiwanese Cinema gradually gave way to what could be informally called the Second New Wave, which are slightly less serious and more amenable to the populace, although just as committed to portraying the Taiwanese perspective. [14] The director of Cape No. The 9th-15th highest grossing Taiwanese domestic films of all time are, in order: Zone Pro Site (2013) (#9 with NTD 305 million), Ang Lee's Lust, Caution (2007) (#10 with NTD 280 million), Café. In 2008, Cape No. Some have argued that by foregrounding urban environments in their films, New Taiwanese directors were trying to grapple with the effects of this accelerated urbanization, particularly its impact on understandings of the relationship between people and space. Frequently the CMPC also produced patriotic films that glorified the Taiwanese government, like The Kinmen Bombs and The Sunset in Geneva. However, the production of films in Taiwanese began to decline due to a variety of reasons, ranging from limited scope and waning interest for such films, to the Nationalist government's promotion of Standard Chinese in mass media and its deeming of Taiwanese as too "coarse". As with these films’ lack of narrative, this austere style counters the aesthetic of commercial films from Hollywood or Hong Kong, which even now tend to feature fast editing, omnipresent background music, and fairly mobile cameras. You can follow his attempts to pursue this obsession at http://filmwatcher.net/. First, they criticized the Taiwanese government for its policies towards filmmaking, claiming that it was more interested in promoting “political propaganda” and “commercial filmmaking” than “cultural activities.” Second, the 54 signers also criticized the mass media for its refusal to treat cinema as an important part of artistic culture. Stylistically speaking, New Taiwanese films tend to have what you could call an austere appearance. Please share your thoughts in the comments! A variety of film festivals and awards have been established to encourage the production of documentaries. Claudio Castillo Arriagada. The film only gets around to showing the murder after spending almost four hours depicting the daily life of teenagers, and as a result, the murder feels decidedly anti-climactic. Chen Kunhou's 1983 film Growing Up provides a nuanced perspective on the experience of a very young boy, from an ordinary family, getting into progressively more trouble. In the years preceding the New Taiwanese movement, mainstream Taiwanese cinema was defined by commercially oriented filmmaking. But before then, its presence – plus the climate of fear that it helped foster – ensured that CMPC films always “played it safe” in terms of aesthetics and subject matter. The first Taiwanese benshi master was a musician and composer named Wang Yung-feng, who had played on a regular basis for the orchestra at the Fang Nai Ting Theatre in Taipei. Films played a vital role in enabling the larger colonial project of imperialization or cultural assimilation of Taiwanese subjects into the Japanese empire.

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