By Tonglin Lu
Regardless of modifications within the political, social, and financial structures of Taiwan and mainland China, the method of modernization in either has challenged conventional cultural norms. Tonglin Lu examines how transformations in cultural formation among Taiwan and China have inspired reactions to modernity and the way cultural identification has taken assorted varieties on either side of the Taiwan straits. She illustrates how those variations within the adventure of modernity are expressed via research of paradigmatic movies produced in either international locations, with a specific emphasis on their formal experiments.
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Additional resources for Confronting Modernity in the Cinemas of Taiwan and Mainland China
However, at the suggestion of Commander Sun [Fig. 2], the leader of the training team, the names of those who left the training ground before the ﬁnal stage are the ﬁrst to be recorded on the ﬂag of their regiment. The prologue comprises a single lengthy helicopter shot, dollying through seemingly endless groups of soldiers who form clear-cut geometric lines on the immense training ground. This shot is introduced by a brief trumpet sound and accompanied by the monotonous rhythm of ampliﬁed footsteps.
In the ﬁnal analysis, what has our cultural system offered us? In my opinion, pretending that we are a great nation with ﬁve thousand years of civilization has simply become a joke. Every Chinese must look back, examining our way of thinking thoroughly. 1 Although Chen associates his critical attitude toward traditional Chinese culture with that of unspeciﬁed Taiwan scholars,2 his notion of Chinese culture is certainly distant from that in Taiwan New Cinema works roughly contemporary with his own.
In her ﬁlm, Li focuses on a problem (lack of education) that currently exists in postsocialist China amid rapid commodiﬁcation of social values. She shows the murder of the only available teacher in the village and the collective reaction to his death. At the same time, the ﬁlm deals with gender issues visually but not discursively, emphasizing through images the importance of female virginity, the trafﬁc in women, and domestic violence. Thus she avoids duplicating the party’s minority discourse on women’s emancipation, one of the major components of the communist discourse of modernity.