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Volume 4, Issue 1
  • ISSN 2799-6190
  • E-ISSN: 2799-8592
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Abstract

This article delves into the influence of transnationalism on Taiwan New Cinema, focusing on the works of female director Chiang Hsiu- Chiung, particularly her Japanese language film, and the femme-centric drama (2014). It is discussing a film within the context of global art cinema, particularly highlighting its significance in attracting audiences interested in arthouse films. The film seems to be positioned as part of the legacy of the New Wave in Taiwan cinema, suggesting that it shares thematic, stylistic, or historical connections with the innovative and influential filmmaking movement that emerged in Taiwan. Moreover, Chiang’s film explores contemporary kinship within the framework of global art cinema, asserting that Taiwan New Cinema has established itself as a significant presence in the arthouse film festival circuit since the 1980s.

One of the defining characteristics of Taiwan New Cinema is its utilization of long takes, deliberate spatial and depth composition, incorporation of documentary elements depicting everyday life, and the dialectical interplay between sound and visuals. These techniques contribute to the films’ self- reflexivity and liminality, enhancing their artistic and narrative depth. Moreover, the article investigates how Chiang’s films empower women, reflecting the influence of transnational feminism in East Asia. Through a structural analysis, it highlights the reversal of roles between the main characters, Misaki and Eriko, and the establishment of connections with a broader network of women. This portrayal affirms a sense of sisterhood and mutual support, enriching the narrative with engaging interpersonal dynamics. Furthermore, the article explores how the dynamics of space within the films contribute to the representation of sisterhood, intersecting with themes of trauma, memory, and embodiment. By examining these elements, the article offers insights into the complex interplay between transnationalism, feminism, and cinematic representation within Taiwan New Cinema.

© John Benjamins Publishing Company
Available under the CC BY-NC 4.0 license.
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2024-04-30
2026-04-21

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/content/journals/10.54754/incontext.v4i1.74
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  • Article Type: Research Article
Keyword(s): Chiang Hsiu-Chiung; Film Festival Circuit; Global Art Cinema; sisterhood; Taiwan New Cinema; 全球藝術電影; 姐妹情誼; 姜秀瓊; 影展迴路; 臺灣新電影

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