By Tonglin Lu
Regardless of transformations within the political, social, and fiscal structures of Taiwan and mainland China, the method of modernization in either has challenged conventional cultural norms. Tonglin Lu examines how modifications in cultural formation among Taiwan and China have motivated reactions to modernity and the way cultural id has taken diverse kinds on each side of the Taiwan straits. She illustrates how those changes within the adventure of modernity are expressed via research of paradigmatic movies produced in either nations, with a selected emphasis on their formal experiments.
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Confronting Modernity in the Cinemas of Taiwan and Mainland China
Regardless of variations within the political, social, and fiscal platforms of Taiwan and mainland China, the method of modernization in either has challenged conventional cultural norms. Tonglin Lu examines how modifications in cultural formation among Taiwan and China have encouraged reactions to modernity and the way cultural identification has taken varied types on each side of the Taiwan straits.
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Extra resources for Confronting Modernity in the Cinemas of Taiwan and Mainland China
Sample text
As a result, he must stay with his fellow soldiers on the training ground despite the misgivings expressed by his individual voice. To an extent, Lü’s position is like that of Gu Qing’s in Yellow Earth – he is a more educated outsider who critically judges the community based on his knowledge of the outside world. His skepticism is part of his educational package. Other soldiers, such as the loyal Section Chief Jiang, cannot even imagine what Beijing, the sacred city, looks like, whereas in Lü’s disabused eyes anything unrelated to his own educational opportunity seems meaningless.
In this sense, he also sustains traditional ethics. When Cuiqiao expresses her desire to join the Eighth Route Army in Yan’an, Gu Qing explains that he cannot take her because of the party’s rules. ” Gu Qing answers: “It’s impossible, because we rely on these rules to fight for central power” (zan gongjiaren jiukao zhe guiju da tianxia de). Cuiqiao’s father gives his daughter to a man who pays him money, because nobody can change rules – as he tells his daughter. For the soldier, a woman’s fate is subservient to the political struggle by means of which the party grasps power.
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.