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Repressed Memories and the Unhomely in Chung Mong-hong’s Children Trilogy

  • Ivy I-chu Chang
Chapter

Abstract

This chapter focuses on Chung Mong-hong’s Doctor (2006), Parking (2008), The Fourth Portrait (2010), and Soul (2013) to investigate how Chung employs aesthetics of unease and everyday banality to explore children’s repressed memories, exposing the “unhomely” state of the drifting children, migrants, and marginalized people. Using Chung’s films to exemplify “the home in the world,” and “the world in the home,” this chapter discusses how global capitalism has caused sociopolitical anomalies and intruded the familial space, individual body, and personal memory, blurring the boundaries between the public and the private and corroding the traditional base of “home” and “nation.” Problematizing the ways of thinking “home” and “nation,” we may re-imagine and re-envision the trans-familial and transnational social sphere.

Keywords

Chung Mong-hong Taiwan cinema Cross-strait marriage Child Memory Home Unhomely Liminality Family 

Works Cited

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Filmography

  1. A One and a Two (一一). Dir. Edward Yang. Perf. Wu Nien-Jen (吳念真), Elaine Jin (金燕玲). Atom Films and Theatre, 2000. DVD.Google Scholar
  2. Doctor (醫生). Dir. Chung Mong-hong. Cream Film, 2006. DVD.Google Scholar
  3. Mahjong (麻將). Dir. Edward Yang. Perf. Virginie Ledoyen, Ko Yu-luen (柯宇倫), Tang Tsung-sheng (唐從聖), Chang Chen (張震), and Wang Chi-tsan (王啟讚). Atom Films and Theatre, 1996. DVD.Google Scholar
  4. Parking (停車). Dir. Chung Mong-hong (鍾孟宏). Perf. Chang Chen (張震), Leon Dai (戴立忍), and Jack Kao (高捷). Cream Film, 2008. DVD.Google Scholar
  5. Soul (失魂). Dir. Chung Mong-hong. Perf. Joseph Chang (張孝全) and Wang Yu (王羽). Cream Film, 2013. DVD.Google Scholar
  6. The Fourth Portrait (第四張畫). Dir. Chung Mong-hong. Perf. Bi Xiao-hai (畢小海), Hao Lei (郝蕾), and Leon Dai (戴立忍). Cream Film, 2010. DVD.Google Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  • Ivy I-chu Chang
    • 1
  1. 1.National Chiao Tung UniversityHsinchuTaiwan

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