The Ordinary in the Representation of History

  • Xiao Cai


 I further examined the relationship between ordinary film and history in this last chapter, and try to clarify the particularity of everyday film as a problem for history representation in general, and in particular with reference to Hou’s films and Taiwan. I have explored in some detail how Hou transforms ordinary scene of everyday life into microhistories. I also investigated the relationship between interstice/episode and entirety and the self-contained historical aura from the often disjointed sequence shots in his films, but set against the background of the ways in which trivial time and history, in the wider dimension of cinematic history, draws critical attention to a “history” that nightlights the “relationship of interiority that puts every image into relation with every other” (Ranciere 186). I have explored the various ways that one particular filmmaker can “filmize” history, meaning that from the historiography, whose force it possesses, to the film, there has been a journey, from the moment when the subject could no longer be thought of as the world but as the individual.


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Copyright information

© Springer Nature Singapore Pte Ltd. 2019

Authors and Affiliations

  • Xiao Cai
    • 1
  1. 1.Shanghai University of Engineer ScienceShanghaiChina

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