Abstract
This chapter explores a particular kind of realism in New Taiwan Cinema that is observational, self-reflexive and closely linked to Taiwan’s cultural, social and political context. The case studies chosen for analysis include Hou Hsiao-hsien’s Dust in the Wind (Lianlian fengchen, 1986), Edward Yang’s The Terrorizer (Kongbu fenzi, 1986–7) and Tsai Ming-liang’s Vive l’amour (Aiqing wansui, 1994).1
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References
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© 2009 Ming-y eh T. Rawnsley
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Rawnsley, My.T. (2009). Observational Realism in New Taiwan Cinema. In: Nagib, L., Mello, C. (eds) Realism and the Audiovisual Media. Palgrave Macmillan, London. https://doi.org/10.1057/9780230246973_7
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DOI: https://doi.org/10.1057/9780230246973_7
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