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Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary
Duke University Press, 2004 Paper: 978-0-8223-3367-8 | eISBN: 978-0-8223-8639-1 | Cloth: 978-0-8223-3357-9 Library of Congress Classification HM621.Y56 2004 Dewey Decimal Classification 306.0951249
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
In discussions of postcolonial nationhood and cultural identity, Taiwan is often overlooked. Yet the island—with its complex history of colonization—presents a particularly fascinating case of the struggle to define a “nation.” While the mainland Chinese government has been unequivocal in its resistance to Taiwanese independence, in Taiwan, government control has gradually passed from mainland Chinese immigrants to the Taiwanese themselves. Two decades of democratization and the arrival of consumer culture have made the island a truly global space. Envisioning Taiwan sorts through these complexities, skillfully weaving together history and cultural analysis to give a picture of Taiwanese identity and a lesson on the usefulness and the limits of contemporary cultural theory. Yip traces a distinctly Taiwanese sense of self vis-à-vis China, Japan, and the West through two of the island’s most important cultural movements: the hsiang-t’u (or “nativist”) literature of the 1960s and 1970s, and the Taiwanese New Cinema of the 1980s and 1990s. At the heart of the book are close readings of the work of the hsiang-t’u writer Hwang Chun-ming and the New Cinema filmmaker Hou Hsiao-hsien. Key figures in Taiwan’s assertion of a national identity separate and distinct from China, both artists portray in vibrant detail daily life on the island. Through Hwang’s and Hou’s work and their respective artistic movements, Yip explores “the imagining of a nation” on the local, national, and global levels. In the process, she exposes a perceptible shift away from traditional models of cultural authenticity toward a more fluid, postmodern hybridity—an evolution that reflects both Taiwan’s peculiar multicultural reality and broader trends in global culture. See other books on: 1947- | Cinema | Harootunian, Harry | Nation | Taiwan See other titles from Duke University Press |
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Nearby on shelf for Sociology / Culture:
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Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
Duke University Press, 2004
Paper: 978-0-8223-3367-8
eISBN: 978-0-8223-8639-1
Cloth: 978-0-8223-3357-9
Paper: 978-0-8223-3367-8
eISBN: 978-0-8223-8639-1
Cloth: 978-0-8223-3357-9
In discussions of postcolonial nationhood and cultural identity, Taiwan is often overlooked. Yet the island—with its complex history of colonization—presents a particularly fascinating case of the struggle to define a “nation.” While the mainland Chinese government has been unequivocal in its resistance to Taiwanese independence, in Taiwan, government control has gradually passed from mainland Chinese immigrants to the Taiwanese themselves. Two decades of democratization and the arrival of consumer culture have made the island a truly global space. Envisioning Taiwan sorts through these complexities, skillfully weaving together history and cultural analysis to give a picture of Taiwanese identity and a lesson on the usefulness and the limits of contemporary cultural theory.
Yip traces a distinctly Taiwanese sense of self vis-à-vis China, Japan, and the West through two of the island’s most important cultural movements: the hsiang-t’u (or “nativist”) literature of the 1960s and 1970s, and the Taiwanese New Cinema of the 1980s and 1990s. At the heart of the book are close readings of the work of the hsiang-t’u writer Hwang Chun-ming and the New Cinema filmmaker Hou Hsiao-hsien. Key figures in Taiwan’s assertion of a national identity separate and distinct from China, both artists portray in vibrant detail daily life on the island. Through Hwang’s and Hou’s work and their respective artistic movements, Yip explores “the imagining of a nation” on the local, national, and global levels. In the process, she exposes a perceptible shift away from traditional models of cultural authenticity toward a more fluid, postmodern hybridity—an evolution that reflects both Taiwan’s peculiar multicultural reality and broader trends in global culture.
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | TOC | REQUEST ACCESSIBLE FILE
