Flannery Wilson received her PhD in Comparative Literature from the University of California, Riverside in June 2011. She teaches French, Italian and film studies. Currently, she is teaching French at the University of Wisconsin, Stevens Point. Her research sheds light on the cross-cultural interactions between French and Italian and Chinese cinema(s). Her articles have appeared in Modern Chinese Literature and Culture, Senses of Cinema, and the Journal of Japanese and Korean Cinema.

Acknowledgements; Preface; Introduction; 1. Charting the Course: Defining the Taiwanese Cinematic 'Tradition'; 2. Taiwanese-Italian Conjugations: The Fractured Story-Telling of Edward Yang's The Terrorizers and Michelangelo Antonioni's Blow Up; 3. Mapping Hou Hsiao-hsien's Visuality: Setting, Silence, and the Incongruence of Translation in Flight of the Red Balloon; 4. Disjointed Connectivity and Lonely Intertextuality in Tsai Ming-liang's What Time is it There?; 5. The Chinese/Hollywood Aesthetic of Ang Lee: 'Westernized', Capitalist...and Box Office Gold; 6. Filming Disappearance or Renewal? The Ever-Changing Representations of Taipei in Contemporary Taiwanese Cinema; Conclusion; Bibliography; Filmography; Notes; Index

Traditions in World Cinema General Editors: Linda Badley and R. Barton Palmer Founding Editor: Steven Jay Schneider This series introduces diverse and fascinating movements in world cinema. Each volume concentrates on a set of films from a different national, regional or, in some cases, cross-cultural cinema which constitute a particular tradition. NEW TAIWANESE CINEMA IN FOCUS Moving Within and Beyond the Frame FLANNERY WILSON 'Flannery Wilson takes a discerning look at Taiwanese cinema in the last quarter century. Her clear-sighted and well-considered study offers fresh insight into some of the most important films and film-makers of our time.' Gilberto Perez, Noble Professor of Art and Cultural History, Sarah Lawrence College In the Taiwanese film industry, the dichotomy between 'art house' and commercially viable films is heavily emphasised. However, since the democratisation of the political landscape in Taiwan, Taiwanese cinema has become internationally fluid. As the case studies in this book demonstrate, film-makers such as Hou Hsiao-hsien, Edward Yang, Tsai Ming-liang and Ang Lee each engage with international audience expectations. New Taiwanese Cinema in Focus therefore presents the Taiwanese New Wave and Second Wave movements with an emphasis on intertextuality, citation and transcultural dialogue. Flannery Wilson argues that the cinema of Taiwan since the 1980s should be read emblematically - that is, as a representation of the greater paradox that exists in national and transnational cinema studies. She argues that these unlikely relationships create the need for a new way of thinking about 'transnationalism' altogether, making this an essential read for advanced students and scholars in both Film Studies and Asian Studies. Flannery Wilson received her PhD in Comparative Literature from the University of California, Riverside. University of Wisconsin - Stevens Point. Cover image: Au Revoir Taipei (c) Atom Cinema. Cover design: [EUP logo] www.euppublishing.com